OlBs 


SOME    ESSENTIALS 

IN  THE 

TEACHING  OF  MUSIC 

•  ft 

FRANK  DAMROSCH 


California      ^^B 
egional           ^^M 
icility             ^^M 

LONDON 

G,  SCHIRMER 

NEW  YORK 


BOSTON 


llillllillllliJiJ-' 


;iTY  OF  CALIFORNIA 
LOS  ANGELES 


SOME  ESSENTIALS 

IN 

THE  TEACHING  of  MUSIC 


SOME  ESSENTIALS 

IN 

THE  TEACHINGS/MUSIC 


For  the  Consideration  of 
Music-Teachers,  Music-Students  and  Parents 


By 

FRANK  DAMROSCH,  Mus.  Doc. 

Director,  Institute  of  Musical  Art  of  the 

City  of  New  York 


G.  SCHIRMER 
NEW  YORK  •  BOSTON 


Copyright,  1916,  by 

G.    SCHIRMER 
26460 


MTIO 


To  James  Loeb, 

the  rare  music-lover  who  understands, 

this  book  is  dedicated 

in  friendship  and  appreciation 

by  the  Author. 


338912 


CONTENTS 

PAGE 

INTRODUCTION  i 

CHAPTER  I 

Preliminary  Development  of  Facul- 
ties Necessary  to  the  Study  of 
Music  5 

CHAPTER  II 

The  Training  of  the  Mind-Ear  30 

CHAPTER  III 

Interpretation:  74 

1.  Musical  Form 

2.  Musical  Content 

CHAPTER  IV 

How  TO  Study  84 

CHAPTER  V 

Correlation   of    Practical   with 

Theoretical  Work  92 

CHAPTER  VI 

Pedagogic  Material  94 

CONCLUSION  99 


INTRODUCTION 

It  is  doubtful  whether  there  Is  any  subject 
of  instruction  which  is  taught  so  carelessly,  so 
ignorantly,  so  improperly,  and  by  so  many 
people  who  are  by  nature  and  by  training  un- 
fit to  teach,  as  music.  Thousands  of  people 
who  have  learned  to  play  or  sing  a  little, 
barely  enough  to  perform  a  few  pieces  more 
or  less  acceptably,  consider  this  a  sufficient 
qualification  to  teach  music.  It  seems  to 
them  an  easy  way  of  earning  a  living  and, 
while  the  State  exacts  the  attainment  of  defi- 
nite standards  in  Normal  training  in  all  other 
subjects,  they  know  that  no  such  standards 
are  established  in  the  teaching  of  music  and 
that  they  can  offer  themselves  to  the  public 
with  impunity.  The  ignorance  of  the  public 
makes  it  easy  and  safe  to  impose  themselves 
as  competent  and,  by  dint  of  advertising, 
personal  influence  and  acquaintance  and  by 
off"ering  cheap  service,  they  often  manage  to 
assemble  large  classes  of  pupils. 

But  even  the  better  trained  musicians, 
equipped  with  ample  musical  and  technical 
ability,  frequently  enter  upon  the  career  of 
teaching  with  an  imperfect  knowledge  of  true 
educational  principles.     They  start  with  the 

[  1  ] 


Some  Essentials  in  the   Teaching  of  Music 

idea  that  they  need  only  pass  on  to  others 
what  they  themselves  have  acquired,  employ- 
ing the  same  methods  and  material,  not  know- 
ing that  good  teaching  means  the  development 
of  the  pupil  from  within,  the  recognition  of  his 
inherent  qualities  and  their  development  along 
lines  of  natural  growth.y  Such  teachers  are 
prone  to  study  this  or  that  "method"  which, 
whether  good,  bad  or  indifferent,  when  ap- 
plied indiscriminately  to  all  pupils  is  bound  to 
be  a  misfit  in  many  cases. 

As  stated  before,  these  conditions  are  to  a 
great  extent  due  to  the  ignorance  of  the  public. 
Some  parents  will  engage  a  "cheap  teacher"  to 
begin  with,  not  realizing  that  this  is  the  most 
important  period  of  the  child's  development 
and  that  a  faulty  or  insecure  foundation  will 
prevent  future  progress  and  will  lead  to  cer- 
tain disappointment  and  discouragement.  Par- 
ents of  another  class  will  start  at  the  other 
extreme,  in  the  belief  that  only  a  teacher  of 
great  reputation  is  good  enough  to  teach  their 
children.  Such  a  teacher  may  be  excellent  for 
advanced  pupils,  but  may  not  be  at  all  inter- 
ested in  the  early  formative  processes  of 
musical  development;  and  again  much  money 
will  be  wasted  with  little  result. 
J  These  parents  do  not  realize  that  an  artist- 
teacher  is  worthy  an  artist-pupil  and  that, 
until  this  stage  has  been  reached,  instruction 
[  2  ] 


Introduction 


should  be  given  by  one  who  is  in  sympathy 
with  the  child-mind  and  who  understands  the 
principles  upon  which  rests  the  development 
of  the  physical,  intellectual  and  spiritual 
faculties,    c^^ 

It  is  important,  therefore,  that  those  who 
look  upon  teaching  as  an  art,  not  as  a  trade, 
should  study  this  art  of  teaching  as  a  specific 
part  of  their  equipment,  without  which  their 
musical  talent,  ability  to  perform,  and  know- 
ledge of  musical  science,  can  never  produce 
satisfactory  results. 

This  little  book  was  written  in  the  hope  of 
giving  helpful  aid  to  those  who  aim  to  become 
true  teachers,  and,  as  the  text  has  been  kept 
as  free  as  possible  from  technical  terms,  it  may 
also  prove  of  service  to  parents.  For,  unless 
the  parent  understands  to  some  extent  the 
plan  and  purpose  of  the  teacher's  work,  the 
cooperation  which  is  so  desirable  and  helpful 
cannot  be  established. 

It  should  not  be  necessary  to  state  that  a 
knowledge  of  the  contents  of  this  treatise  is 
not  sufficient  to  make  a  good  music-teacher. 
He  must  be  a  person  of  culture  and  good 
breeding;  well  educated;  a  good  musician,  able 
to  play  or  sing  with  ample  technical  skill, 
accuracy,  intelligence  and  taste;  thoroughly 
grounded  in  the  theory  of  music;  equipped 
with  a  wide  knowledge  of  musical  literature  and 
[  3  ] 


Some  Essentials  in  the  Teaching  of  Music 

acquainted  with  the  standard  compositions  in 
every  field  of  musical  art;  and,  finally, 'rie  must 
have  high  art-ideals  and  be  abj'fe  to  arouse  and 
maintain  them  in  his  pupils. 

So  prepared,  if  he  will  follow  out  the  sugges- 
tions contained  in  these  pages,  he  may  not  be 
able  to  create  a  Kreisler,  a  Paderewski,  or  a 
Sembrich,  but  he  will  at  least  develop  each 
pupil  to  the  highest  point  of  musical  and 
artistic  excellence  of  which  he  is  capable;  and 
if,  in  one  of  his  pupils,  there  should  be  the 
germ  of  a  great  artist,  it  will  stand  a  better 
chance  of  reaching  maturity  than  when  left  to 
the  haphazard  methods  of  teaching  so  com- 
mon all  over  the  world. 

If,  on  the  other  hand,  the  pupil  has  only 
moderate  talent,  he  will  at  least  grow  into  an 
intelligent  music-lover  who  can  understand 
and  truly  appreciate  good  music  well  per- 
formed; and  that,  too,  will  "fill  a  long-felt 
want." 


[4] 


CHAPTER  I 

Preliminary    Development    of    Faculties 
Necessary  to  the  Study  of  Music. 

The  teaching  of  any  subject  involves  three 
processes:  The  creation  of  interest  in  the  sub- 
ject, the  development  of  the  physical  and 
mental  faculties  necessary  to  its  mastery,  and 
the  comprehension  of  its  scope  and  of  its  rela- 
tion and  application  to  life.  In  the  teaching 
of  an  art-subject  there  enters  a  fourth  process, 
namely,  the  development  and  culture  of  cer- 
tain psychic  faculties  required  for  its  proper 
apprehension  and  expression. 

These  processes*  will  be  discussed  in  their 
relation  to  the  teaching  of  music  as  an  art; 
but  it  must  be  understood  that,  while  they 
will  be  treated  separately,  their  practical  ap- 
plication is  not  consecutive  but  simultaneous, 
that  is,  all  four  processes  must  progress  cor- 
relatively  from  first  to  last,  from  the  first  lesson 
of  the  beginner  to  the  most  advanced  study 
of  the  artist-student — namely,  throughout  life. 


Processes 
of  teaching 


The  first  process,   the  creation  of  interest,    ^f**^°?  °' 
involves  certain  psychological  problems.    Stu- 
[5] 


Some  Essentials  in  the  Teaching  of  Music 

dents  of  music,  especially  those  who  begin 
very  young,  require  careful  study  on  the  part 
of  the  teacher  in  order  that  he  may  find  the 
proper  starting-point  that  will  enable  him  to 
secure  the  child's  willing  attention  and  co- 
operation. Broadly  speaking,  young  music- 
students  may  be  divided  into  two  classes, 
those  who  have  a  natural  bent  for  music  spon- 
taneously seeking  expression,  and  those  whose 
parents  love  music  and  wish  their  children  to 
have  music  as  part  of  their  life-assets.  Among 
the  latter  will  be  found  every  variety  of  apti- 
tude and  inaptitude;  yet  even  the  least  promis- 
ing children  may,  under  good  guidance,  de- 
velop into  intelligent,  music-lovers,  if  not  into 
good  musicians. 

*         * 

Natural  j^  the  first  class^those  who  have  a  natural 

bent  for  music — the  awakening  of  interest  will 
present  little  difficulty;  but  even  here  the 
teacher  will  be  called  upon  to  exercise  careful 
discrimination  in  properly  directing  this  in- 
terest toward  true  art-ideals.  Children  who 
have  great  facility  in  remembering  tunes  or  in 
"picking  out"  melodies  on  the  piano  are  prone 
to  pick  up  most  readily  the  jingles  of  the 
popular  songs  of  the  street,  the  sentimental 
maunderings  of  the  lady  in  the  next  flat,  or 
[6] 


Preliminary  Development  of  Faculties 

the  ragtime  of  the  phonograph,  therefore,  the 
teacher's  first  problem  will  be  to  direct  the 
child's  interest  into  channels  appropriate  to 
his  age  and  conducive  to  the  development  of 
his  sense  for  beauty.    ; 


In  the  second  class  the  ingenuity  of  the  Moderate 
teacher  will  often  be  severely  taxed.  The  en-  talent 
vironment  of  the  child  may  be  devoid  of 
musical  influences,  or,  what  is  worse,  may  teem 
with  bad  influences.  The  first  step,  then, 
would  be  to  find  the  subject  in  which  the 
child  is  most  interested  and  to  bring  this  into 
relation  with  music.  If  the  little  girl  is  inter- 
ested in  her  doll,  sing  or  play  a  lullaby  to  put 
dolly  to  sleep,  a  waltz  to  let  her  dance.  If  the 
boy  is  interested  in  his  drum,  play  a  march. 
The  numerous  excellent  publications  of  chil- 
dren's songs  will  supply  material  for  practically 
all  activities  of  the  child,  be  they  physical, 
mental  or  psychic;  and  the  teacher  of  the 
young  should  have  a  thorough  acquaintance 
with  this  literature  and  a  goodly  collection  of 
it  in  his  library. 


The  teacher  must  endeavor  at  this  stage  of    ??"^^?..V^, 

the  child  s 
the  child's  musical  development  to  introduce    life 

[  7  ] 


Some  Essentials  in  the  Teaching  of  Music 

music  as  part  of  his  daily  life — not  as  some- 
thing separate  and  extraneous.  This  can,  of 
course,,  be  accomplished  only  if  either  the 
teacher  or  some  member  of  the  family  compe- 
tent to  do  so  gives  the  child  daily  opportunity 
to  express  himself  in  music.  This  should  not, 
as  yet,  take  the  form  of  "practice,"  but  should 
rather  enter  into  the  usual  activities  of  the 
day,  such  as  playing  in  the  park,  building  a 
house  with  blocks,  or  looking  at  a  picture- 
book. 


Creation 
of  interest 
evolves 
desire  to 
learn 


We  cannot  successfully  teach  anything  with- 
out the  full  cooperation  of  the  student.  It  is 
for  this  reason  that  we  must  begin  by  creating 
an  interest  in  the  subject,  and  this  interest 
will  evolve  that  desire  to  learn,  without  which 
the  best  teacher's  best  efforts  will  be  futile. 


Desire 
to  learn 
breeds 
effort 


This  desire  breeds  effort  to  acquire  the 
object  of  desire,  and  herein  the  teacher  will 
find  the  best  helpmate  in  all  his  work.  There 
remains  only  to  provide  the  right  kind  of 
objective,  and  a  start  will  have  been  made  in 
the  right  direction. 


Preliminary  Development  of  Faculties 

Let  us  now  analyze  the  nature  of  this  Effort 
"effort,"  which  we  will  assume  to  have  been 
secured  by  creating  a  desire  to  learn  through 
interest  in  the  subject.  Effort  is  either  un- 
conscious, induced  by  natural  talent,  or  con- 
scious, induced  by  an  awakened  interest,  by 
acquired  ability  to  accomplish,  by  a  develop- 
ment of  mind,  body  and  spirit  to  make  it  a 
medium  of  self-expression.  In  its  best  form, 
effort  is  a  combination  of  the  conscious  and 
unconscious  activities.  Unconscious  effort  usu- 
ally requires  restraint  to  avoid  too  rapid 
advancement  along  lines  of  least  resistance; 
but  with  intelligent  guidance  it  will  prove  to 
be  the  greatest  stimulus  to  the  development 
of  conscious  effort  and  all  the  activities  which 
this  involves  in  the  training  of  the  mind  and 
the  body. 

Effort  involves  an  appreciation  of  the  object 
to  be  accomplished  (this  includes  mental  and 
psychical  processes),  the  mastery  of  the  tech- 
nical means  of  expression  by  proper  practice 
(physical),  and  the  final  act  of  self-expression 
through  the  musical  medium  selected. 


This  effort  at  self-expression  should  be  the    ^®'^' 


keynote  of  all  art-work.      Without  it,   music 

may  be  pleasing,  technically  perfect  and  super- 

[9] 


expression 


Some  Essentials  in  the  Teaching  of  Music 

ficlally  attractive,  but  it  will  lack  the  deeper 
significance,  the  direct  appeal  to  the  emotions 
which  is  the  result  of  sincere  individual  ex- 
pression. Can  this  quality  be  taught?  Un- 
doubtedly, but  only  by  one  who  is  not  a  mere 
trainer,  but  a  real  educator,  that  is,  one  who 
knows  how  to  develop  his  pupil  from  within. 
Perhaps  it  may  help  us  to  recognize  the  differ- 
ence between  a  trainer  and  a  teacher  if  we 
analyze  their  methods. 

The  trainer  starts  with  a  predetermined  feat 
which  the  pupil  is  to  perform  in  exactly  the 
way  in  which  the  trainer  believes  it  should  be 
accomplished.  He  uses  as  his  means  chiefly 
imitation,  repetition,  and  sometimes  the  rea- 
soning faculties.  The  result  at  its  best  is  a 
flawless  copy  of  either  his  own  work  or  of  that 
of  some  master-performer. 

The  teacher,  on  the  other  hand,  seeks  from 
the  beginning  to  let  the  pupil  feel  his  way 
toward  individual  expression.  This  does  not 
mean,  however,  that  he  is  permitted  to  disfigure 
through  ignorance  and  inexperience  or  through 
wilfulness  music  which  in  itself  is  beautiful 
when  properly  rendered;  but  it  means  that  the 
pupil  is  caused  to  grow  in  such  a  way  that  his 
method  of  self-expression  will  be  in  harmony 
with  art-principles  and  with  the  spirit  of  the 
composer.  In  other  words,  the  true  music- 
teacher  must  be  something  more  than  a  mere 
[  10] 


Preliminary  Development  of  Faculties 

teacher  of  music.  He  must  know  how  to  find 
and  to  awaken  the  spiritual  qualities  of  the 
pupil,  that  is,  to  kindle  the  imagination,  to 
arouse  and  stimulate  his  mental  activity,  to 
cultivate  his  taste  and  judgment,  to  strengthen 
and  ennoble  his  character  and  to  encourage  and 
maintain  his  individuality. 


Art  at  its  best  is  an  expression  of  the  spirit. 
The  pursuit  of  an  art  without  a  proper  de- 
velopment of  the  spiritual  qualities  is  a  failure 
from  the  start.  It  will  be  seen  from  this  that 
the  first  music-lesson  should  not  begin  by 
teaching  the  notes  or  the  names  of  the  keys  of 
the  piano  or  the  correct  position  of  the  hand 
on  the  keys.  These  things  are  necessary  at  the 
proper  time  and  in  the  proper  way,  but  more 
important  things  must  be  done  first. 


Develop- 
ment of 
spiritual 
qualities 


The    true    teacher    studies    his    pupil    con-    ^^^^J,  °^ 

.  pupil  s 

stantly,  seeks  for  seeds  in  his  mind  and  heart    qualities 

which  should  be  made  to  sprout,  and  nurses 
them  into  flower.  He  skilfully  adapts  the 
pupil's  musical  activities  to  his  spiritual,  in- 
tellectual and  physical  capacity  and  in  this 
way  associates  musical  expression  with  his  life- 
[  11  1 


Some  Essentials  in  the   Teaching  of  Music 

experiences  in  a  natural  manner,  so  that  the 
pupil  learns  to  use  it  as  a  means  of  self-ex- 
pression. 


The 

teacher's 

task 


It  will  be  seen  from  this  that  the  task  of  the 
music-teacher  is  not  an  easy  one.  On  the  con- 
trary", it  is  most  complex  and  exacting,  and 
few — very  few — who  call  themselves  teachers 
have  the  qualities  needed  for  this  noblest  pro- 
fession. But  it  is  also  the  most  fascinating 
work  when  its  problems  and  scope  are  rightly 
understood.  To  the  true  teacher  every  pupil 
and  every  moment  of  every  lesson  is  interest- 
ing. He  who  looks  upon  teaching  as  drudgery 
is  not  a  good  teacher — is,  indeed,  no  teacher. 


Channels 
of  appre- 
hension 
and  ex- 
pression 


Let  us  now  proceed  to  consider  the  channels 
through  which  music  reaches  our  comprehen- 
sion, and  those  through  which  we  express  our- 
selves in  music;  for  it  is  these  two  processes  of 
apprehension  and  expression  which  require 
constant  cultivation. 

The  channels  of  apprehension  are: 

a.  Ear  and  eye  (physical). 

b.  Brain,  intellect  (mental). 

c.  Emotions,  spirit  (psychical). 

[  12  1 


Preliminary  Development  of  Faculties 

The  channels  of  expression  are: 

a.  Emotion  (psychical). 

b.  Brain  (mental). 

c.  Voice,  fingers,  etc.  (physical). 

*  * 

We  apprehend  music  first  through  the  ear    Apprehen- 
.   ^  . ,        ,      °  sion  of 

or  eye;  i.  e.,  sound-waves  strike  the  tympanum    music 

of  the  ear,  or  light-waves,  reflecting  the  sym- 
bols of  musical  sounds,  strike  the  retina  of  the 
eye.  These  sensory  impressions  are  communi- 
cated to  the  brain,  and  this  brings  them  into 
consciousness  and  into  orderly  relationship. 
Finally,  they  reach  the  emotions,  which  re- 
spond to  the  spiritual  qualities  of  the  music. 

We   give   out   music   through   the   desire   to    Expression 
•  •  %-i       •        11  J         through 

communicate  our  emotions,  ihe  intellect  de- 
termines the  form  and  nature  of  expression,  and 
the  voice  or  fingers  carry  out  the  demands  of 
the  higher  faculties. 

*  * 


It  will  be  seen  that  the  two  processes  are  car-  Compari- 

ried  out  inversely.     Apprehension  takes  place  the  two 

from  the  physical  to  the  psychical,  expression  processes 

[  13  ] 


music 


Some  Essentials  in  the  Teaching  of  Music 

from  the  psychical  to  the  physical,  while  both 
proceed  through  the  medium  of  the  brain. 

This  should  make  clearer  the  teacher's  task 
in  giving  equal  attention  to  all  the  various 
processes,  for  if  any  of  them  are  neglected  an 
essential  element  will  be  omitted. 


Develop- 
ment of 
faculties 
in  accord 
with  Pes- 
talozzian 
principles 


Having  outlined  the  processes  which  enter 
into  the  reception  and  expression  of  music,  let 
us  consider  how  to  develop  the  various  facul- 
ties required  to  carry  them  out.  Before  doing 
this,  however,  it  will  be  desirable  to  establish 
certain  general  pedagogical  principles,  first 
formulated  by  Pestalozzi  as  the  basis  of  all 
correct  teaching,  which  have  stood  the  test  of 
time  and  experience.  While  these  have  been 
universally  applied  In  the  general  education  of 
children,  there  has  been  little  use  made  of 
them  in  the  teaching  of  art-subjects,  a  fact 
which  accounts  to  a  great  extent  for  the  exist- 
ing conditions  in  art-education. 


Cultivation 
of  faculties 
in  their 
natural 
order 


The  first  of  these  general  principles  is:  Culti- 
vate the  faculties  of  the  mind  in  their  natural  order. 

What  is  their  natural  order  .^  First,  the 
conscious  apprehension  of  facts  or  phenomena 
through  the  medium  of  the  senses;  second,  the 
[  14  ] 


Preliminary  Development  of  Faculties 

combination  of  such  isolated  impressions  into 
intelligent  forms  of  thought;  third,  the  asso- 
ciation of  such  forms  of  thought  with  others 
having  one  or  more  terms  in  common;  fourth, 
the  application  of  the  thought-material  so 
acquired  to  self-expression. 

To  illustrate:  A  child  is  taken  to  visit  a 
small  island.  He  is  conscious  of  walking  on 
dry  land,  and  on  completing  the  circuit  of  the 
island  realizes  that  it  is  surrounded  by  water 
on  all  sides.  He  has  therefore  learned  by  two 
sensory  impressions  a  fact  which  he  is  able  to 
express  in  intelligent  form  to  the  eflFect  that  an 
island  is  a  body  of  land  entirely  surrounded  by 
water.  Subsequent  expeditions  make  him  fa- 
miliar with  the  different  characteristics  of 
peninsulas,  mountains,  rivers,  etc.,  each  of 
which  he  is  able  to  associate  with  and  differ- 
entiate from  his  former  experiences,  and 
thus  to  bring  into  orderly  relation  all  the 
phenomena  of  physical  geography.  The  know- 
ledge so  acquired  will  have  become  part  of 
himself  and  can  be  applied  by  him  in  the 
form  of  individual  thought,  thereby  becoming 

ing  a  means  of  self-expression. 
*         * 

* 

The   second   general   principle   is:   Lead  the  The  child 

.  •  must  dis* 

child  to  discover  for  himself.     The  child  should    cover  for 

do  the  work — the  teacher  lead.  himself 

[  IS  ] 


Some  Essentials  in  the  Teaching  of  Music 

Taking  the  former  illustration  as  an  ex- 
ample, we  must  appreciate  the  superiority  of 
a  process  whereby  the  physical  facts  and  phe- 
nomena are  discovered  by  the  child  through 
the  senses,  combined,  under  the  guidance  of 
the  teacher,  into  intelligent  thought  and,  again 
under  guidance,  formulated  into  general  know- 
ledge by  inductive  reasoning. 

Knowledge  based  upon  the  experience  of 
others  is  rarely  accurate.  Facts,  be  they  ever 
so  true,  forced  upon  a  mind  which  has  had  no 
previous  experience  with  the  elements  upon 
which  they  are  based,  will  appear  in  a  dis- 
torted form  upon  the  mental  retina.  More- 
over, the  child-mind  cannot  bring  any  thought- 
conceptions  into  sharp,  clearly  defined  out- 
lines until  the  experience  of  his  senses  teaches 
him  the  boundaries  of  time  and  space.  And 
yet  how  many  teachers  are  satisfied  to  pump 
"facts"  into  children  which,  at  best,  are  taken 
on  the  faith  that  the  teacher  knows  every- 
thing, but  which,  having  no  association  with 
the  child's  experience,  mean  nothing  to  him. 

*  * 

* 


Proceed 
from  the 
known  to 
the  un- 
known 


The  third  general  principle  is:  Proceed  from 
the  known  to  the  unknown;  from  the  concrete  to 
the  abstract;  from  the  particular  to  the  general. 

Imagine  that  each  point  of  knowledge,  or 
I  16] 


Preliminary  Development  of  Faculties 

of  ability  to  do,  which  is  gained  is  a  step  upon 
which  the  child  mounts,  and  which  prepares 
and  places  the  next  step.  In  other  words, 
knowledge  is  not  developed  from  above,  but 
from  below.  At  the  foundation  are  the  ele- 
mentary facts  and  phenomena  discovered  by 
the  senses.  These  are  brought  into  relation 
with  each  other  by  mental  action,  thereby 
establishing  new  thought-conceptions.  This 
process  is  continued  by  various  associations, 
comparisons,  correlations  and  inferences,  con- 
stantly evolving  new  thought-facts,  each  of 
which  is  based  upon  those  previously  derived 
from  the  acquired  thought-material.  Thus  the 
child  gradually  illuminates  the  vast,  dark 
cavern  of  the  unknown  by  the  light  of  the 
known  facts  which  he  has  himself  discovered. 
Again,  it  will  be  seen  that  this  knowledge  is 
part  of  himself,  ready  to  his  use  for  self-expres- 
sion whenever  he  requires  it. 


With  these  three  main  principles  of  peda-    Application 
gogy    established,    we    may    now    proceed    to    principles 

consider  their  application  in  the  teaching  of   in  teaching 

•  .  music 

music.     They  are  exceedingly  simple — indeed, 

they  sound  like  truisms — accepted  by  every- 
body as  a  matter  of  course,  but  their  applica- 
tion   requires    the    utmost   concentration    and 
[  17  ] 


Some  Essentials  in  the   Teaching  of  Music 

intelligent  planning  on  the  part  of  the  teacher. 
Many  consider  them  very  useful  in  the  ele- 
mentary processes  of  education,  but  deny 
their  applicability  and  usefulness  for  more  ad- 
vanced work.  This  position  should  be  com- 
bated most  emphatically,  and  this  treatise 
may  help  to  disprove  its  validity.  It  is  true 
that  the  application  of  these  principles  re- 
quires more  ingenuity,  logical  thought,  and 
imagination,  the  more  complex  become  the 
problems  involving  appreciation  of  the  tech- 
nical, intellectual  and  aesthetic  elements  en- 
tering into  the  work;  but  their  correct  solution 
depends  upon  the  logical  evolution  of  these 
principles,  and  avoidance  or  disregard  of  them 
is  due  simply  to  mental  sloth  and  induces 
misconceptions  and  mechanical,  inartistic 
results. 


Howto  Quj.  f^j-g-j-  problem  is  to  develop  the  child's 

interest  interest.  In  order  to  accomplish  this  we  must 
first  find  out  to  what  extent  it  has  already 
been  done  through  home  influence  or  natural 
bent.  The  child-mind  is  like  a  mirror.  It 
reflects  the  impressions  received  from  its  en- 
vironment, causing  the  child  to  try  to  imitate 
the  actions  and  sounds  that  come  to  its  notice. 
Thus  it  has  been  frequently  observed  that 
I  18] 


Preliminary  Development  of  Faculties 

children  whose  mothers  sing  in  the  nursery  will 
hum  these  tunes  long  before  they  have  learned 
to  talk  correctly.  The  singing  of  good,  simple 
songs  to  children  in  their  earliest  years  is  one 
of  the  most  valuable  means  for  inducing,  not 
only  a  correct  musical  ear,  but  also  a  love  for 
music  as  such.  Wherever  this  is  found  to  be 
the  case,  the  work  of  the  teacher  will  be  com- 
paratively easy.  Unfortunately,  it  is  rather 
the  exception  than  the  rule  in  America;  and 
then  the  first  step  will  be  to  supply  this  funda- 
mental requirement. 


l/^  The  first  vehicle  of  musical  conception  and    Song  the 
of  musical  expression   should  be   a   song.      It    vehicle 
combines  a  concrete  thought  intelligible  to  the    of  musical 

conception 

child  with  an  appropriate  tune  that,  so  to 
speak,  floats  the  words  and  enhances  their 
meaning  and  their  power  to  stir  the  imagina- 
tion. Great  care  should  be  exercised  in  the 
selection  of  these  songs  in  order  that  they  may 
serve  their  purpose  in  interesting  the  child,  in 
cultivating  his  taste  and  in  training  his  ear  to 
recognize  correct  musical  relations.  The  child 
will  learn  the  songs  by  his  natural  gift  of  imi- 
tation, but,  as  he  will  imitate  not  only  the 
words  and  sounds  of  the  tune,  but  also  the 
[  19 


Some  Essentials  in  the   Teaching  of  Music 

tone-quality,  enunciation  of  words,  rhythm 
and  other  details,  it  will  be  seen  how  impor- 
tant it  is  that  the  example  set  by  the  teacher 
is  of  the  best. 

It  does  not  matter  at  this  stage  whether  the 
child  is  to  learn  to  play  the  piano  or  the  violin; 
his  first  step  must  be  to  learn  to  sing  songs. 

Why?  Because,  in  order  to  develop  his 
musical  concepts  from  within,  we  must  utilize 
the  child's  natural  means  of  music-apprehen- 
sion and  expression,  the  ear  and  the  voice,  not 
the  mechanical  devices  of  piano-keys  or  strings 
which  would  distract  his  attention  from  the 
real  thing.  He  will  use  these,  his  natural  tools, 
unconsciously,  and  will  therefore  concentrate 
his  attention  on  the  song  itself. 


Develop-  j^  jg   ^q  j^g  remembered  that  our  primary 

ment  of  r         ^  •  i  •  r  i 

child's  love   purpose  tor  the  present  is  not  the  specmc  cul- 

for  music      tivation  of  the  voice  or  of  the  ear,  but  rather 

v'the  development  of  the  child's  love  and  taste 

for  good  music.  From  the  interest  thus  aroused 

we  shall  secure  the  strong  desire  to  learn  which 

will  form  the  mainspring  or  motive-power  in 

the   more   serious   work  to  come.      But  even 

though  we  may  be  satisfied  if  the  tones  are 

sweet  and  pure,  we  cannot  be  too  exacting  in 

the  creation  of  a  keen  recognition  of  true  in- 

[  20] 


Preliminary  Development  of  Faculties 

tonation  of  pitch,  for  thereon  hangs  all  future 
musical  work,  and  any  neglect  at  this  most 
plastic  stage  in  the  child's  development  will 
cause  much  unnecessary  trouble  later. 


Training 
of  the  ear 
first  step 


The  ear  is  the  channel  through  which  all 
musical  impressions  reach  the  mind,  and  also 
the  one  through  which  the  mind  censors  and 
controls  the  apparatus  which  produces  our 
own  musical  expression.  It  is,  therefore,  ob- 
vious that  the  correct  training  and  use  of  the 
ear  must  be  the  teacher's  first  and  constant 
care. 

When  we  speak  of  the  ear  we  do  not  mean 
the  organ  of  hearing  itself  —  whose  physical 
perfection  must  be  taken  for  granted  —  but 
the  mental  ear,  that  is,  that  part  of  the  brain 
which  receives  aural  impulses,  stores  them, 
registers  them  as  noise  or  musical  sounds, 
groups  these  into  intelligible  musical  thoughts, 
conveys  their  emotional  character  to  the  feel- 
ings and,  in  short,  brings  all  musical  impres- 
sions to  our  consciousness. 

* 


The  processes  of  the  ear  are  therefore  mam-  Processes 

/•  1 J       T        1  1  •  r  •      1   •  performed 

fold.     In  the  apprehension  oi  musical  impres-  by  the  ear 

[  21  1 


Some  Essentials  in  the   Teaching  of  Music 

sions  the  physical  ear  receives  and  transmits 
them  to  the  brain.  If  this  is  untrained,  the 
impression  will  be  superficial  and  evanescent. 
In  the  moment  of  reception  there  may  be  a 
feeling  of  sensual  pleasure,  but  this  disappears 
almost  immediately  and  no  conscious  im- 
pression of  the  music  which  caused  it  re- 
mains. If  the  mind  is  trained,  however,  it 
becomes  active  the  moment  musical  sounds 
impinge  upon  the  recording  brain-cells.  It 
notes  the  nature  and  quality  of  the  sounds, 
their  pitch-relations  to  each  other,  their  rhyth- 
mic grouping,  accentuation  and  tempo;  in 
short,  it  receives  the  musical  message,  under- 
stands it,  and  records  it  so  that  it  may  be  re- 
called at  pleasure,  sometimes  long  after  the 
first  impression  was  received. 

In  musical  expression  the  ear  again  plays  an 
important  part.  Before  the  voice  can  utter  a 
sound  or  the  instrument  produce  a  note,  the 
brain-ear  must  first  conceive  it  in  the  exact 
form  as  to  pitch,  duration,  quality,  etc.,  in 
which  it  is  to  appear  as  part  of  an  intelligent 
musical  thought.  Then  again,  when  uttered, 
the  ear  must  be  the  critic  which  accepts  or  re- 
jects the  sound  as  fit  to  take  its  place  in  the 
succession  of  tones  devised  to  express  this 
thought.  But  not  only  this,  it  must  antici- 
pate utterance  by  a  marvelous  contrivance  of 
subconscious  cerebration,  so  that  it  compels 
[  22  ] 


Preliminary  Development  of  Faculties 

the  nerves  and  muscles  of  the  tone-productive 
apparatus  to  meet  exactly  the  form  in  which 
the  brain  has  conceived  it. 

Is  it  not  remarkable,  then,  that  the  develop- 
ment of  this  most  important  faculty  —  the 
brain-ear  —  has  usually  been  left  to  hap- 
hazard? It  should  and  must  receive  the  first 
attention,  and,  indeed,  it  cannot  receive  too 
much  or  too  constant  care. 


Let  us  assume,  then,  that  the  child  has 
learned  to  take  pleasure  in  the  singing  of 
songs  and  that  he  has  accumulated  a  goodly 
repertory  representative  of  such  thoughts  and 
feelings  as  his  pleasures,  games  and  nature 
environment  may  engender.  The  time  has 
now  come  to  build  upon  this  foundation,  or 
rather  to  utilize  the  unconscious  musical  qual- 
ities already  obtained  in  the  singing  of  songs, 
in  shaping  the  elementary  facts  of  musical 
consciousness  upon  which  the  whole  structure 
of  music  rests. 

*         * 


Application 
of  musical 
conscious- 
ness en- 
gendered 
by  songs 


As  this  is  not  a  treatise  on  methods  of  in-  Conscious 
1                     1                      ....            -  recognition 
struction,    but   on    the    general    prmciples    or  of  tone- 
musical    education,    the    application   of    these  relations 
[  23  ] 


Some  Essentials  in  the  Teaching  of  Music 

principles  will   be   left  to   the   teacher's   indi- 
vidual preference. 

Our  next  step,  therefore,  the  development  of 
the  mind  to  a  conscious  recognition  of  tone- 
relationship,  may  be  led  up  to  in  many  ways. 
The  usual  way  is  to  start  with  the  major  scale 
and,  by  bringing  its  steps  into  conscious  rela- 
tion to  its  keynote  and  to  each  other,  to  obtain 
a  knowledge  of  all  the  diatonic  intervals.  An- 
other way  is  to  utilize  song-material  already 
familiar  to  the  child,  and  to  select  from  it  the 
various  intervals  to  be  consciously  appre- 
hended. Some  teachers  consider  it  desirable 
to  develop  a  sense  of  absolute  pitch  from  the 
very  beginning.  But,  whatever  the  method, 
the  main  thing  must  be  to  train  the  ear  to  a 
recognition  of  definite  tone-relationships  by 
means  of  its  own  experience.  If  this  important 
work  is  properly  done,  the  child  should  soon 
be  able  to  recognize  the  major  and  minor  sec- 
onds, thirds  and  sixths,  the  perfect  fifths  and 
octaves,  and  the  augmented  fourths  and  di- 
minished fifths  in  association  with  their  resolu- 
tions. The  few  remaining  diatonic  intervals 
will  offer  no  difficulty. 


Application        "jj^g   ^^g   ^j^^   mental   advancement  of  the 

or  correct 

principles      pupil  must  determine  whether  these  musical 

[  24  ] 


Preliminary  Development  of  Faculties 


conceptions,  called  intervals,  shall  be  named 
as  such,  or  whether  they  shall  be  treated 
simply  as  combinations  of  the  different  steps 
of  the  scale.  For  instance,  a  very  young  child 
will  be  able  to  sing  one-three  of  the  scale,  while 
he  might  fail  to  associate  the  term  major  third 
with  this  tone  combination.  A  pupil  a  little 
older  would,  after  singing  this  interval  until 
he  is  familiar  with  its  sound-effect,  have  no 
difficulty  in  remembering  its  name  as  major 
third,  and  would  sing  the  interval  when  called 
for  by  its  name.  The  important  point  is,  that 
the  teacher  should  give  names  only  to  those 
musical  conceptions  with  which  the  pupil  is 
familiar  through  his  own  active  experience. 

If  the  teacher  were  to  play  a  major  third  and 
say  to  the  pupil:  *'This  is  called  a  major  third,^' 
the  pupil  would  of  course  accept  the  statement, 
but  would  probably  forget  quickly  the  sound- 
effect  associated  with  the  name.  But  if  the 
pupil  has  frequently  sung  one-three  of  the 
scale,  has  recognized  it  as  one-three  when  the 
teacher  sang  or  played  it  and  has  thereby  be- 
come thoroughly  familiar  with  it  as  a  concrete 
tone-conception,  he  will  always  recall  this 
tone-combination  when  the  teacher  names  it 
as  maior  third.  In  other  words,  the  pupil  has 
learned  a  musical  fact  by  doing;  he  has  de- 
rived a  new  fact  from  an  old  one;  he  has  pro- 
ceeded from  the  known  to  the  unknown;  he 
[  25  ] 


in  develop- 
ment of 
knowledge 
of  tone- 
relations 


Some  Essentials  in  the   Teaching  of  Music 

has  himself  discovered  a  new  fact,  and  all 
that  remains  for  the  teacher  to  do  is  to  name 
this  new  fact  John  Smith,  General  Grant, 
Susan  Jones  or  major  third  —  whatever  the 
name,  it  will  be  associated  in  the  child's  mind 
with  the  musical  conception  to  which  the 
teacher  applied  it. 

Therefore,  our  rule  must  be:  Do  the  things 
then  name  it. 

This  rule  must  be  applied  henceforth  with 
rigid  consistency,  for  only  in  this  way  can  the 
teacher  make  sure  that  every  musical  term 
will  be  associated  with  a  clear  and  correct 
conception  of  the  thing  which  it  represents. 


Interval  Tht  practice  in  the  singing  and  recognition 

of  intervals  either  as  such  or  as  steps  of  the 
scale  should  be  carried  on  daily  for  a  longer  or 
shorter  period,  according  to  the  age  of  the 
pupil  and  his  power  of  physical  endurance  and 
mental  concentration.  As  a  rule,  frequent 
short  periods  of  practice  will  be  more  pro- 
ductive than  long  periods  at  greater  intervals. 
The  teacher  must  judge  also  whether  the 
pupil  is  old  enough  to  do  this  practice  as  a 
task  or  as  a  form  of  childish  diversion.  If  the 
former,  it  should  be  so  conducted  as  to  make 
the  task  pleasant  through  the  pupil's  real  in- 
terest and  desire  to  learn.  The  interval-practice 
[  26  1 


Preliminary  Development  of  Faculties 

may  be  followed  hy  chord-practice  at  an  early 
stage,  as  it  offers  no  greater  difficulties  in  ap- 
prehension. The  pupil  who  can  recognize  one- 
three-five  of  the  scale,  or  a  major  third  and 
perfect  fifth,  will  have  no  trouble  in  recogniz- 
ing and  naming  it  a  major  triad  whenever  the 
teacher   has   decided   to   associate   that   name 

with  this  particular  tone-combination. 
*         * 

* 

And    so,    gradually,    all   diatonic    tone-com-    ^®^^3*^S  <>* 
1  •         •  1      1  1  •  -11     rhythm 

bmations,  and  also  some  chromatic  ones,  will 

become  known  to  the  pupil  by  doing,  and  he 

will    associate    them    with    their    appropriate 

names.       Simultaneously    with    this    work    in 

pitch-relation,    however,    there   must   progress 

an  appreciation  of  that  other  great  element  of 

musical  expression  —  rhythm. 

The  lack  of  rhythmic  sense  is  probably  that 

element    in    the    majority    of    music-students 

which  gives  most  frequent  cause  for  complaint. 

The  reason  for  this  condition  is  usually  to  be 

found  in  the  inadequate  and  incorrect  way  in 

which  .this  feature  of  musical  expression  has 

been  taught  in  the  early  stages  of  music-study. 

The  process  is  generally  like  this:  The  teacher 

shows   the  pupil  a  whole  note  and  tells  him 

that,  whenever  he  sees  a  whole  note,  he  must 

count   four;   then    a    half-note,    count   two;   a 

quarter-note,    count    one;    eighth-notes,    play 

[  27  ] 


Some  Essentials  in  the  Teaching  of  Music 

two  to  each  count;  sixteenth-notes,  four;  and 
so  on.  As  a  result,  when  the  playing  is  easy, 
the  pupil  will  count  quickly,  when  it  is  difficult, 
slowly;  consequently,  no  true  rhythmic  feeling 
will  be  developed.  This  method  of  teaching 
violates  the  rule  which  is  derived  from  our 
main  principles:  Teach  ideas  bejore  words;  the 
thing  before  the  symbol. 

Before  we  talk  about  "time,"  "metre"  or 
"rhythm"  we  must  develop  the  feeling  of 
rhythm  and  apply  this  to  musical  expression. 
So  taught,  rhythm  will  not  be  associated  with 
symbols,  but  with  rhythmic  action,  through 
which  the  rhythmic  sense  becomes  part  of  the 
pupil's  organism.  Every  child  loves  to  march 
and  to  dance.  This  is  the  best  aid  to  the 
teacher  in  developing  rhythm.  Play  a  march 
and  let  the  pupil  march,  accentuating  the 
step  on  the  left  foot.  The  tempo  of  the  march 
should  be  changed  from  time  to  time;  but 
not  within  the  same  lesson,  so  as  not  to  con- 
fuse the  pupil.  A  little  song  in  march-rhythm 
may  then  be  learned  and  sung,  while  march- 
ing, with  proper  emphasis  on  the  first  beat  of 
each  measure.  Similarly,  a  Polonaise  —  a 
stately  march  in  triple  time  —  may  be  exe- 
cuted; then  a  Waltz,  Polka,  etc.  It  is  unneces- 
sary at  this  stage  to  talk  about  metre  or 
rhythm.  The  important  thing  is,  that  the 
child  learns  to  feel  rhythm,  to  recognize  the 
[  23  1 


Preliminary  Development  of  Faculties 

inexorability  of  the  regular  recurrence  of  the 
accented  sounds.  Any  laxness  in  this  respect 
must  be  immediately  corrected,  and  the  ex- 
ercises, both  physical  and  musical,  continued 
until  the  teacher  is  assured  that  the  child 
can  no  more  deviate  from  true  rhythmic 
feeling  than  can  the  pendulum  of  a  clock. 


It  should  be  reiterated  here  that  our  present    Summary 
.  ,         .        .  ,  ,  .  -  •     •       of  the 

consideration  is  not  the  teaching  or  music  in    chapter 

in  any  one  of  its  different  forms,  but  simply 
the  development  of  those  faculties  which  are 
necessary  to  the  apprehension  and  expression 
of  music.  We  are  opening  the  door  through 
which  music  enters  and  passes  out.  Without 
an  intelligent  musical  ear  and  rhythmic  sense 
as  part  of  the  trained  ear  there  can  be  no  real 
musical  intelligence. 

The  time  devoted  to  this  preparation  should 
not  be  begrudged,  even  though  the  actual 
teaching  on  the  piano  or  violin  be  delayed  for 
a  year  or  even  two  years.  The  progress,  both 
in  quality  and  quantity,  will  be  greater  and 
more  rapid  if  this  preparation  has  been 
thorough.  Would  that  parents  were  more 
prone  to  recognize  this,  instead  of  insisting 
upon  demonstrations  of  "progress"  by  me- 
chanically acquired  repertories. 

[  29  ] 


CHAPTER  II 


Compari- 
son of  the 
trained  ear 
with  the 
untrained 


The  Training  of  the  Mind-Ear. 

Before  proceeding  to  the  work  of  building 
upon  the  foundation  provided  by  the  above- 
mentioned  preliminary  development,  let  us 
make  clear  to  ourselves  the  processes  of 
physical  and  intellectual  action  and  reaction 
entering  into  the  apprehension  and  expression 
of  music. 

A  musical  illustration  will  perhaps  best  serve 
our  purpose.  Let  us  listen  to  the  first  move- 
ment of  Beethoven's  Sonata  in  Cif  minor, 
Op.  27,  No.  2.  The  untrained  ear  will  come 
under  the  spell  of  this  music,  and  there  will  be 
a  certain  emotional  response  during  its  con- 
tinuance, but  it  will  be  vague  and  evanescent 
because  there  are  no  intellectual  milestones  and 
finger-posts  to  guide  the  listener.  He  travels 
the  road  and  enjoys  its  scenery  for  the  time 
being,  but  knows  not  whence  it  starts,  whither 
it  goes,  or  where  and  how  it  turns.  Beyond  the 
recollection  that  it  was  pleasant  he  cannot  re- 
call its  features  or  bring  back  those  character- 
istics which  most  impressed  him  at  the  time. 
The  untrained  ear  communicated  the  sensual 
impressions  directly  to  the  emotions  without 
passing  them  through  the  analytical,  critical 
[30] 


The  Training  of  the  Mind-Ear 

and  recording  processes  of  the  mind.  The 
trained  ear,  on  the  contrary,  will  recognize 
every  feature  of  the  music  as  a  concrete, 
recognizable  and  definable  phenomenon.  It 
will  establish  its  melodic,  harmonic  and  rhyth- 
mic elements,  its  tempo,  its  spiritual  charac- 
teristics and  its  relation  to  the  listener's  own 
soul-experience,  which  is,  of  course,  the  meas- 
ure of  comprehension  which  any  one  can 
bring  to  the  appreciation  of  a  work  of  art  or 
any  other  form  of  spiritual  expression.  The 
intellectual  grasp  thus  gained,  the  trained  ear 
will  be  able  to  facilitate  self-expression  through 
the  medium  of  the  same  composition,  so  that 
it  will  not  only  convey  to  other  intelligent 
listeners  the  message  of  the  composer,  but 
will  do  so  with  the  added  force  of  conviction 
which  sincere  individual  expression  gives. 

* 

For  the  purpose  of  this  discussion  let  us  call    '^^^^^^^^ 
the  untrained  ear  the  passive  ear,  the  trained,    passive 
the  active.     The  former  receives,   enjoys  the    ^^ 
pleasing  sensations  induced  by  the  tone-suc- 
cessions   and    combinations,    and    reacts    sub- 
consciously in  emotional  reflexes.    The  latter, 
however,  acts  instantaneously,  constantly  and 
in  various  directions,  and  it  is  important  that 
the  teacher  should  know  the  physical  and  in- 
[  31  ] 


Some  Essentials  in  the  Teaching  of  Music 

tellectual  processes  in  which  the  brain-ear, 
the  active  ear,  is  the  centre  of  activity.  It 
would  lead  too  far  to  introduce  an  explanation 
of  the  acoustic  properties  of  sound  and  of  the 
anatomical  structure  of  the  ear.  These  mat- 
ters can  and  should  be  studied  by  the  musician 
in  the  comprehensive  literature  which  treats 
thereof.  We  are  concerned  principally  with 
the  activities  of  the  mind  on  receiving  the  im- 
pressions of  musical  sounds  from  the  ear,  and 
in  directing  the  expression  of  musical  thoughts 
through  some  tone-medium. 


Processes 
of  music 
apprehen- 
sion 


Let  us  suppose  that  we  hear  one  isolated 
musical  sound,  the  tone  of  a  bell,  the  whistle 
of  a  steamboat,  the  note  of  a  bird  or  a  human 
voice,  uttering  one  single  tone.  This  impres- 
sion is  transmitted  by  the  proper  nerve  to  the 
brain,  and  there  it  calls  for  analytical  and 
critical  observation.  The  intellect  recognizes 
its  nature  as  a  bell-tone,  whistle,  bird-note,  or 
human  utterance,  and  may  define  its  pitch, 
duration  and  quality;  but  so  long  as  this  tone 
is  unrelated  to  other  tones  there  will  be  no 
musical  thought  or  meaning  conveyed  by  it. 
The  hearing  of  two  tones  in  succession  or 
simultaneously  may  suggest  the  germ  of  a 
musical  thought,  but  is  insufficient  in  itself  to 
[32] 


The  Training  of  the  Mind-Ear 

convey  an  intelligent  message.  It  is  only 
when  a  series  of  musical  sounds  is  grouped  in 
rhythmical  units  and  these  groups  are  brought 
into  intelligent  harmonic  relation  to  each 
other,  that  we  are  able  to  recognize  an  intel- 
ligible musical  thought.  The  mind  will  classify 
two  tones  as  such  and  such  an  interval,  but 
there  interest  ends,  for  this  interval,  unrelated 
to  further  musical  values,  suggests  no  com- 
plete musical  thought.  To  illustrate  : 
is  a  descending  minor  third  and  sug- 
gests the  note  of  the  cuckoo.  But  let  us  bring 
this  interval  into  relation  with  other  tones  in 
rhythmic  grouping  and  it  immediately  acquires 
musical  value  through  intellectual  association. 
For  example: 


It  is  not  necessary  to  supply  the  words  in 
order  to  recognize  that  it  is  a  complete  mu- 
sical thought  expressed  metrically,  similarly  to 
poetic  verse.  In  the  latter  form  it  might  look 
like  this: 


Cuckoo,  cuckoo  calls  from  the  tree. 
Cheerfully  singing, 
Summer  he's  bringing; 

Cuckoo,  cuckoo,  welcome  to  me. 
[  33  1 


Some  Essentials  in  the   Teaching  of  Music 

To  the  musical  ear  the  characteristics  of  metre, 
melodic  progression  and  harmonic  cadential 
relations  proclaim  it  as  a  complete,  intelligible 
musical  thought.  The  mind  recognizes,  ana- 
lyzes, compares  and  registers  this  group  of 
musical  sounds  and  stores  it  up  ready  for  use 
in  case  the  mind  should  direct  its  utterance 
by  the  organs  of  expression. 

The  mental  processes  involved  in  the  appre- 
hension of  the  above  simple  tune  apply  to  the 
apprehension  of  all  musical  works,  large  or 
small,  for  the  elements  of  melody,  rhythm  and 
harmony  are  common  to  them  all. 


Processes         This  function  of  the  mind,  the  apprehension 

or  mtisics.! 

expression  of  music,  may  seem  complex,  but  it  is  really 
simple  in  comparison  with  the  mental  activity 
involved  in  intelligent  musical  self-expression. 
Here  again  the  mind-ear  is  the  general  super- 
intendent of  activities. 

The  emotions  seek  expression  and  the  mind 
devises  its  form  and  means,  which  latter  we 
will  assume  to  be  the  voice.  The  mind  con- 
ceives a  certain  tune  and  wills  that  the  voice 
shall  commence  on  a  tone  of  a  certain  pitch, 
quality,  intensity,  duration  and  stress.  To 
produce  this  particular  kind  of  tone  the  whole 
vocal  apparatus,  the  lungs,  the  muscles  sur- 
[  34  ] 


The  Training  of  the  Mind-Ear 

rounding  them,  the  vocal  cords,  tongue,  palate 
and  maxillary"  muscles,  the  nerves  governing 
their  action,  etc.,  etc.,  must  be  set  in  motion 
instantly  and  harmoniously  and  with  such 
accuracy  that  the  exact  tone-effect  conceived  • 
and  willed  by  the  mind  is  produced.  It  is  the 
mind-ear,  previously  trained  to  its  functions, 
which  alone  makes  this  marvelous  action  and 
reaction,  this  cooperation  and  reciprocal  sup- 
port, possible.  It  performs  most  of  its  func- 
tions subconsciously;  indeed,  the  number  and 
complexity  of  the  processes  required  in  pro- 
ducing a  single  musical  tone  are  so  great  that 
conscious  control  of  each  activity  would  take 
too  much  time  and  would  be  futile  because  all 
must  take  place  simultaneously.  To  secure 
the  highest  development  of  the  directive 
powers  of  the  mind-ear  and  the  quickest  and 
most  accurate  response  to  its  demands  upon 
the  medium  of  expression  is  one  of  the  prin- 
cipal tasks  of  the  teacher. 
*         * 

To  illustrate  the  nature  of  the  directive  work    Directive 
which  the  mind-ear  is  called  on  to  perform,  let    the  mind- 
us  assume  that  the  brain  is  a  room  in  which  the    ®^ 
mind-ear   is    seated   before-  a   large   telephone 
switchboard.     He   receives  from   his   superior 
officer  in  the  intellectual-spiritual  department 
[  35  1 


Some  Essentials  in  the   Teaching  of  Music 

orders   to   connect   the   vocal   apparatus   with 
the   centre   of   thought   and   emotion    and    to 
stand  by  to  control  the  machinery.     As  the 
higher   power  wills   each   tone,   the   mind-ear 
flashes  commands  to  every  part  of  the  vocal 
apparatus,  which  responds  instantly,  provided 
each  part  of  the  machine  has  been  perfectly 
fitted  for  its  share  of  the  task.    It  is  this  fitting 
process  which  we  call  study.     The  mind-ear 
finds  that  the  vocal  cords  failed  to  produce  the 
exact  pitch  —  therefore  it  exacts  repetition  of 
the  process  until  the  pitch  is  true.    The  tone  is 
not  evenly  sustained,  hence  the  bellows  are  in 
need  of  attention;  the  vowels  are  impure  and 
the  enunciation  indistinct,  hence  there  is  much 
to  remedy  in  the  organs  of  speech.     All  this 
the  mind-ear  must  control,  must  have  ready 
for  immediate  use.     Would  it  not  seem  evi- 
dent, therefore,  that,  before  we  can  train  the 
apparatus,  we  must  train  the  man  that  runs 
it,^      For  it   is   most  important   to   remember 
that  your  machine  cannot  do  my  work,  nor 
can    my    machine    do   yours.     Each    machine 
is    so   constructed    that   it    can    do    only    the 
owner's   work;    hence    it    is    only    the    owner 
himself   who   can   gradually  adjust    it,   adapt 
it,  polish  it  until  it  does  the  work  the  owner 
exacts  of  it.     As  this  is  possible  only  through 
his    assistant,    the    mind-ear,  the   importance 
of  giving   this   personage   the   best   education 
[  36  ] 


The  Training  of  the  Mind-Ear 

conceivable    and    obtainable    will    readily    be 
granted. 

*         * 

He  must  first  of  all  hear  as  much  as  possible  "^f^if"^^ 
all  that  is  beautiful  in  sound.  He  should  learn  mind-ear 
to  distinguish  between  the  myriad  sounds  in 
nature.  His  first  acquaintance  with  human 
music  should  be  a  mother's  sweet  lullaby. 
The  songs  of  the  nursery  should  ever  be  gentle 
and  in  association  with  words  that  stimulate 
thoughts  of  beautiful  ideas.  As  he  grows 
older,  his  power  of  discrimination  should  be 
encouraged,  the  preference  for  the  beautiful, 
the  rejection  of  the  inadequate  or  the  vulgar. 

Remember,  we  are  speaking  of  the  mind- 
ear —  not  the  owner.  He,  poor  fellow,  gets  a 
general  education,  hard  knocks  and  poor  fare; 
the  ugly  with  the  beautiful;  the  contact  with 
evil  as  well  as  good.  But  the  mind-ear  must 
be  a  specialist,  and  it  is  therefore  necessary 
that  his  powers  of  discrimination,  his  know- 
ledge of  all  elements  in  the  domain  of  sound, 
be  of  the  highest  order. 

In  some  people  the  mind-ear  is  naturally 
keen  and  competent;  in  others  it  must  and 
can  be  trained.  We  need  only  look  back  on 
our  own  development  to  realize  how  our 
powers  of  discrimination,  our  musical  judg- 
1  37  ] 


3389ia 


Some  Essentials  in  the   Teaching  of  Music 

merit  and  taste,  have  developed  and  improved 
through  experience,  study  and  opportunities 
for  comparison. 

*         * 


Necessity 
of  highest 
develop- 
ment of 
mind-ear 


Technical 
training 


Unless  the  mind-ear  is  developed  from  the 
first,  musical  practice,  except  under  constant 
supervision  by  the  teacher,  would  be  impos- 
sible. For  practice  may  not  be  mechanical. 
It  must  be  made  to  conform  to  higher  stand- 
ards of  expression,  and  that  needs  constant 
criticism  and  control,  which  must  come  from 
the  pupil  in  order  that  musical  thought  and 
expression  may  become  simultaneous  functions, 
In  which  case  they  are  true  self-expression. 

Therefore,  once  again,  the  highest  culture 
of  the  ear  —  the  physical  and  the  mental 
ear  —  is  the  alpha  and  the  omega  of  music- 
study,  and  all  processes  of  music-expression  are 
subordinate  to  it  and  under  its  direct  control. 


*  * 

* 


Having  established  the  important  functions 
which  the  mind-ear  exercises  in  the  apprehen- 
sion and  expression  of  music,  and  discussed 
the  ways  and  means  calculated  to  develop 
this  faculty,  we  must  now  devote  ourselves  to 
the  shaping  and  training  of  the  tools  employed 
[  38  1 


The  Training  of  the  Mind-Ear 

in  music-expression.  Here  again  we  are  not  to 
discuss  methods  of  application,  but  funda- 
mental principles. 

In  approaching  this  subject  it  will  be  well 
to  recognize  that  the  physical  elements  of 
music-expression,  the  voice,  fingers,  etc.,  must 
not  be  looked  upon  as  a  purely  mechanical 
apparatus.  Efforts  to  train  the  hand  and 
fingers  mechanically  by  the  use  of  dumb 
claviers  have  always  proved  unsatisfactory. 
The  separation  of  so-called  technical  training 
from  the  musical  purposes  to  which  it  is  ulti- 
mately to  be  applied  may  lead  to  mechanical 
skill,  but  not  to  musical  results.  At  the  outset, 
therefore,  let  us  recall  our  previous  statement 
that  the  channels  or  processes  of  music-expres- 
sion are  threefold,  namely: 

Psychic  —  emotional. 
Mental  —  Intellectual. 
Physical  —  voice,  fingers,  etc. 

These  three  processes  are  introactive.  They 
are  not  consecutive,  as  might  appear  to  be  the 
case  at  first  sight:  that  a  feeling  seeks  expres- 
sion, that  the  mind  then  devises  its  form  and 
manner,  and  the  fingers  finally  do  the  actual 
work  according  to  pattern.  The  proof  of  this 
is  obvious  in  listening  to  two  singers  or  two 
instrumentalists  of  equal  technical  and  mental 
ability,  one  of  whom  conveys  to  the  listener  a 
[  39  ] 


Some  Essentials  in  the  Teaching  of  Music 

deep  feeling  and  meaning,  while  the  other, 
with  equal  beauty  of  phrasing,  fails  to  move 
us.  In  the  former,  the  connection  between 
emotion  and  means  of  expression  is  direct, 
having  become  so  by  habitual  introactive  use. 
The  latter  has  only  shaped  the  garment, 
and  the  emotion  cannot  get  into  it  because 
it  will  fit  only  when  fashioned  upon  its  own 
body. 


Relation  of 
physical  to 
mental  and 
spiritual 
processes 


The  physical,  mental  and  psychic  processes 
must  therefore  always  progress  hand  in  hand. 
Besides  the  advantage  of  securing  thereby  a 
perfect  medium  of  expression,  we  also  avoid 
the  error,  all  too  common,  of  developing  the 
fingers  far  beyond  the  ability  of  the  mind  and 
heart  to  grasp  the  inner  meaning  of  the  things 
they  utter;  or  of  attempting  to  sing  Wagnerian 
roles  which  stir  our  emotions  before  we  have 
learned  to  sing  correctly. 

The  effort  of  the  teacher  must  be  to  develop 
all  three  processes  evenly  and  to  see  to  it  that 
they  properly  react  upon  each  other. 


Technique        \ye  -^[w  ^ow  discuss  the  development  of  the 
physical   processes,   usually  termed  technique. 
[40] 


The  Training  of  the  Mind-Ear 

These  processes  depend  upon  the  use  of  the 
nerves,  muscles,  bones,  cartilages,  sinews, 
tendons,  joints,  membranes,  etc.,  which  make 
up  the  apparatus  of  the  vocalist  or  instru- 
mentalist. This  machinery  of  levers  and  other 
mechanical  devices  is  set  in  motion  through 
the  medium  of  the  nervous  system  in  obe- 
dience to  the  will.  Most  of  the  processes  are 
carried  out  subconsciously  and,  where  origi- 
nally done  consciously,  they  often  develop  into 
reflex  actions  by  dint  of  frequent  repetition. 

The  teacher's  problem  is  to  shape  this  ma- 
terial, varied  and  complex  in  its  composition, 
into  a  perfect  tool  of  expression  capable  of 
uttering  feelings  so  deep  that  speech  cannot 
express  them,  and  of  arousing  similar  feelings 
in  the  breast  of  the  listener. 

We  shall  take  it  for  granted  that  the  pupil   Application 
1,1  .      ,  .  1       ^        of  musical 

has    had    some    musical    experience    and    ear-    experience 

training  through   singing   and   hearing  songs,    to  first 

and  is  ready  to  travel  farther  on  the  road  of    technical 

the  study  of  music.     We  must  now  recall  one  of    training 

the  fundamental  principles  enunciated  above. 

Lead  the  child  to  discover  for  himself.  The 
child  should  do  the  work,  the  teacher  lead. 

If   the    instrument   is    the    piano,    the    first 
thing  the  pupil  must  learn  is  the  arrangement 
[  41  ] 


Some  Essentials  in  the  Teaching  of  Music 

of  the  keys  of  the  instrument  and  the  tones 
they  produce  when  struck.  The  usual  way  in 
which  this  is  done  is  to  point  to  Middle  C  and 
say:  "This  key  is  called  C,  and  this  one  just 
above  it  is  D,"  and  so  on.  Then  the  pupil  is 
told  to  strike  C,  D,  etc.,  and,  as  a  result,  in- 
stead of  associating  the  letter-names  with 
sounds,  he  associates  them  with  keys.  The 
better  way  is  to  let  the  child  discover  for 
himself.  Let  him  sing  one  of  his  simple  songs, 
such  as  "Three  blind  mice,"  or  "My  country, 
'tis  of  thee,"  in  the  key  of  C,  and  then  let 
him  pick  out  the  tones  on  the  piano.  In  this 
way  the  key  will  always  be  associated  in  his 
mind  with  a  sound,  not  with  a  name  or  a  note, 
except  as  these  are  representative  of  a  tone. 

*         * 
* 

Teaching  Simultaneously  with  this  exercise  of  finding 

notation         ,  .  i         •  •        -n  i  n  i 

his  songs  on  the  piano,  it  will  be  well  to  teach 

the  notes.  Again,  we  must  not  draw  a  staff 
and  say:  "This  is  a  staff";  and  then  make 
notes  and  name  them;  but  we  must  let  the 
pupil  sing  a  scale  —  C  or  D  or  any  other  tone 
on  some  neutral  syllable  such  as  la  or  loo^ 
then  with  the  letter-names  C,  Z),  E,  etc.  Then 
dictate:  "Sing  C,  sing  Z),"  the  pupil  producing 
the  tone  called  for  by  its  name.  When  this  as- 
sociation of  tone  with  name  is  thoroughly  es- 
[42] 


The  Training  of  the  Mind-Ear 

tablished,  draw  a  staff  (do  not  yet  discuss  Its 
name  or  properties)  and  say:  "Sing  C" 
When  the  pupil  has  sung  it,  place  the  note  on 
the  staff  and  say:  "This  is  the  picture  of  the 
tone  you  have  sung." — This  method  is  con- 
tinued throughout  the  scale  and  followed  by 
dictation-exercises  in  which  the  teacher  points 
to  notes,  or  writes  notes,  letting  the  pupil  sing 
them.  The  process  is  continued  by  going  to 
the  piano,  when  the  teacher  writes  a  note,  the 
pupil  sings  it,  and  then  finds  and  plays  the 
key,  thereby  associating  the  key  with  its  note 
through  association  with  the  tone.  This  would 
be  the  logical  exposition  of  the  rules:  Teach  the 
thing  before  the  symbol;  do  the  thing,  then  name 
it,  then  represent  it;  both  of  which  are  derived 
from  the  general  principle:  Let  the  child  discover 
for  himself,  that  is,  let  him  make  thorough  ac- 
quaintanc'e  through  his  sense-experience  with 
the  thing  to  be  learned;  then  we  may  name  it 
and  represent  it,  and  the  name  or  symbol 
will  always  recall  the  real  essence  of  the  thing. 


The  pupil  is  now  ready  to  begin  piano- 
lessons.  What  does  that  mean.'*  Is  he  now 
to  do  systematic  finger-  and  wrist-gymnastics 
in  order  to  develop  the  so-called  piano-tech- 


nique 


Is  he  to  practice  dry  five-finger  exer- 

[  43  1 


Beginning 
to  play  the 
piano 


Some  Essentials  in  the  Teaching  of  Music 

cises,  each  exercise  to  be  played  twenty  times 
in  each  practice-hour?  Is  he  to  be  taught  to 
hate  music  fervently  and  to  wish  that  lightning 
might  destroy  the  piano? 

Or  is  he  to  play  little  commonplace  tunes  or 
simplified  operatic  arrangements,  all  of  which 
the  teacher  has  drilled  into  him  mechanically 
with  many  thumpings  on  the  floor  to  make 
the  pupil  "keep  time,"  and  innumerable  cor- 
rections of  wrong  notes  recurring  always  in 
the  same  place? 

No,  he  is  to  do  none  of  these  things.  He  is 
to  learn  from  the  beginning  to  use  the  piano 
as  a  means  of  self-expression.  It  is  the  most 
important  moment  of  his  musical  develop- 
ment, and  everything  depends  upon  the  teach- 
er's skill  in  turning  the  pupil's  face  in  the  right 

direction. 

*         * 


First  steps        Suppose  that  the  pupil  is  required  to  dis- 
cover the  following  tune  on  the  piano": 


Oh  how  loTeJy      Is    th«    ewe-ning,  is    the     eve-ning,Whea  the  bells  are 


Bweet-ly      risg-ing,  sweet-ly      riog'-lii^,  Dins',    ioag,  dingy    iong,  Hag,    dong- 

He  has  sung  it  many  times,   alone,  or  with 

others  as  a  Round.     His  imagination  pictures 

[44  ] 


The  Training  of  the  Mind-Ear 

the  sound  of  the  church-bells  throbbing  through 
the  evening  air.  He  will  soon  find  the  keys,  and 
after  some  effort  he  will,  under  the  guidance  of 
the  teacher,  group  the  tones  in  correct  rhythm 
in  accordance  with  the  well-known  song.  If 
the  teacher  stops  at  this  stage  and  declares  his 
satisfaction  with  the  correctness  of  tones  and 
time,  great  damage  will  result,  for  the  pupil 
draws  the  inference  that  he  needs  only  push 
down  the  right  keys  and  do  it  in  the  right 
time  in  order  to  satisfy  the  teacher's  require- 
ments and  "to  play  the  piano." 

On  the  contrary,  now  begins  the  most  im- 
portant part  of  the  lesson.  The  teacher  must 
lead  the  pupil  to  come  as  close  as  possible  to 
the  song.  The  legato  playing,  the  emphasis  of 
the  important  tones,  the  proper  detachment  of 
the  phrases  from  each  other,  just  as  they  are 
detached  by  breathing  in  the  song,  the  spirit  of 
tranquillity  in  the  swing  of  the  metre  and  the 
onomatopoetic  ding,  dong  of  the  bell — all 
these  must  be  discovered  by  the  pupil  in  the 
song  and  rendered  as  closely  as  possible  on  the 
piano.  The  teacher  must  always  hold  before 
him  the  imaginative,  poetic  and  aesthetic 
features  of  the  melody  and  must  stimulate 
the  pupil  to  express  them.  Comparison,  con- 
trast and  antithesis  are  valuable  means  to 
demonstrate  to  him  his  failures  and  the  road 
to  success.  But  be  it  ever  remembered:  Let 
[45  ] 


Some  Essentials  hi  the  Teaching  of  Music 

the  pupil  discover  for  himself,  the  teacher  lead! 
The  pupil's  interpretation  of  the  song  may  be 
crude,  but  it  will  be  his  own  and,  if  he  has 
been  correctly  guided,  it  will  be  along  the 
right  musical  and  aesthetic  lines. 


The  song 
as  bridge 
to  first 
attempts 
to  play 


It  is  obvious  that  a  song  should  form  the 
bridge  to  the  piano,  for  we  must  proceed  from 
the  known  to  the  unknown,  and  the  pupil's 
knowledge  of  music  is  hitherto  solely  comprised 
in  the  song.  Moreover,  it  will  be  advanta- 
geous to  continue  to  translate  songs  to  the  key- 
board, for  in  this  way  the  pupil  will  gradually 
find  ways  and  means  to  express  a  large  variety 
of  sensations,  fancies  and  emotions,  thereby 
gaining  valuable  experience  in  self-expression. 
The  time  will  come  before  long  when  a  tune 
without  words  will  convey  its  emotional  mes- 
sage with  unfailing  accuracy,  but  this  condition 
can  be  developed  only  from  an  association  with 
concrete  poetic  ideas  expressed  in  words  from 
which  abstract  emotional  sensations  are  de- 
rived and  expressed  purely  in  tones. 


Natural  "Meanwhile,"  asks  the  teacher,  "what  be- 

adaptation  r  ^i.     i.       j  j  £  3»     t-u 

of  physical    comes  of  the  hands  and  lingers?        ihereisno 

146] 


The  Training  of  the  Mind-Ear 

cause  for  worry.  Create  In  the  pupil  a  clear  apparatus 
conception  of  what  he  wants  to  express,  and  musical 
arouse  his  will  to  express  It,  and  nature  will  ^^^k 
find  ways  and  means  —  nay,  the  best  ways 
and  means  —  to  express  It.  It  will  shape 
the  tools  of  expression  with  a  refinement  of 
accuracy  which  no  mechanical  means  can  hope 
to  secure.  The  chief  duty  of  the  teacher  Is  to 
see  that  the  muscles  are  relaxed  In  order  that 
they  may  be  ready  to  do  whatever  work  the 
will,  acting  through  the  mind-ear,  may  exact 
of  them.  From  time  to  time,  hints  as  to  the 
advantage  of  dropping  the  wrist  below  the 
knuckles,  or  of  carrying  the  thumb  under-  the 
fingers  in  running  up  or  down  the  scale,  or  of 
other  manipulations,  may  be  given,  but  they 
should  be  given  only  as  applicable  to  some 
particular  case  In  point,  not  as  general  practices. 

It  will  be  found  advantageous  to  use  the  left   Simultane- 

•  OUS  06V61- 

hand,   alternating  with  the   right,   when  first    opmentof 
beginning  to  render  songs  on  the  piano.    This    left  and 
will  not  only  tend  to  develop  the  left  hand    hands 
evenly  with  the  right,  but  It  will  prevent  the 
Incorrect  conception  that  the  left  hand  Is  less 
Important  than  the  right.     There  Is  also  no 
reason  why,  when  the  notes  are  Introduced  In 
the  treble  clef  and  played  by  the  right  hand, 
[47  ] 


Some  Essentials  in  the   Teaching  of  Music 


Real  piano 
music 


the  notes  In  the  bass  clef  should  not  be  taught 
simultaneously  and  played  by  the  left  hand. 
But  this  must  be  done  strictly  In  the  same 
order  as  before,  I.  e.,  tone,  name,  symbol,  key. 

*  * 
* 

As  soon  as  the  pupil  has  gained  sufficient 
acquaintance  with  the  notes  and  the  keyboard 
through  the  playing  of  songs  and  of  simple 
tunes,  real  piano  music,  that  Is,  music  written 
for  this  instrument  and  not  associated  with 
any  song  or  necessarily  descriptive  of  any 
definite  poetic  thought,  should  be  introduced. 
It  may  be  helpful,  and  serve  as  a  bridge,  to 
choose  at  first  such  little  pieces  as  contain 
some  definite  appeal  to  the  Imagination,  such  as 
Schumann  uses  In  his  titles  In  the  Album  for 
the  Young  and  Scenes  from  Childhood.  But 
gradually  these  programmatic  crutches  should 
be  dropped  and,  if  the  child's  Imagination  and 
poetic  sense  have  been  rightly  developed,  he 
will  recognize,  respond  to  and  express  the  emo- 
tional contents  of  a  piece  of  music  without  a 
title  or  a  programme. 

*  * 


Function 
of  music 
is  to  ex- 


It  may  be  well  at  this  point  to  state,  as  a 
principle   which   cannot   be   too   strongly   up- 
press itself    held,  that  the  highest  function  and  purpose  of 

[48  ] 


The  Training  of  the  Mind-Ear 

music  is  to  express  itself.  In  all  the  other  arts 
expression  is  sought  through  analogies  with 
other  mental  and  physical  phenomena.  Paint- 
ing, sculpture  and  architecture  borrow  their 
medium  of  expressioti  from  nature;  poetry  and 
the  drama  appeal  to  the  emotion  and  the 
mind  through  the  recital  or  portrayal  of  defi- 
nite phases  of  human  thought  and  emotions. 
They  are,  so  to  speak,  mirrors  of  life.  Music, 
however,  is  not  bound  to  or  limited  by  any 
natural  object,  human  thought  or  specific 
feeling.  If  it  is  to  be  so  limited,  it  must  be  so 
labeled  or  brought  into  definite  relation  with 
the  specific  thought  or  feeling.  To  illustrate: 
Imagine  listening  to  the  Introduction  to  the 
Third  Act  of  "Die  Meistersinger"  without 
knowing  whence  it  is  taken  and  without  any 
acquaintance  with  either  the  text  or  the  music 
of  this  opera.  It  will  not  arouse  the  thoughts 
associated  with  the  situations,  characters  or 
emotions  of  the  drama,  but  it  will  convey  its 
message  to  you  as  music  pure  and  simple, 
causing  certain  strings  of  your  soul  to  vibrate 
in  tune  with  it.  The  listener  to  whom  the 
opera  is  familiar  will,  as  he  listens  to  this  in- 
troduction, imagine  Hans  Sachs  in  deep  medi- 
tation over  the  events  of  the  past  day — the 
advent  and  trial  of  the  young  knight  by  the 
MastersingerSy  the  love  of  Walther  and  Eva^ 
her  coquettish  suggestion  of  his  own  eligibility 

f  49  1 


Some  Essentials  in  the   Teaching  of  Music 

and  his  own  realization  of  his  age.  Then  the 
soft  intoning  of  his  great  hymn,  ''^ Awake!  " 
foreshadowing  his  apotheosis  —  all  of  these 
thoughts  may  be  called  forth  by  this  music; 
but  without  these  poetic  associations  the 
music  is  just  as  beautiful,  its  emotional  power 
just  as  great — nay,  I  would  say  greater, 
because  less  limited. 

Is  the  Andante  of  Beethoven's  Fifth  Sym- 
phony less  impressive  because  it  has  no  title 
or  text?  Is  the  message  in  the  Finale  of 
Brahms'  First  Symphony  unintelligible  be- 
cause it  is  not  labelled  "Heldenleben"? 

No,  music  uses  and  needs  no  other  medium 
than  itself.  It  does  not  try  to  express  love, 
hate,  joy,  sorrow,  or  any  other  human  emo- 
tion as  such;  but  it  may  arouse  such  feelings 
under  conditions  favorable  to  their  develop- 
ment, such  as  individual  conditions  of  mind 
and  soul  of  the  listener;  poetic  or  dramatic 
association.  Take  the  music  of  any  love- 
song,  dissociate  it  from  the  text  and  from  pre- 
conceived association  with  the  expression  of 
love,  and  you  cannot  say  that  this  succession 
of  musical  notes  spells  "I  love  you."  If  you 
are  eighteen  it  may  do  so,  but  so  would  the 
music  of  the  song  entitled  "  'fVay  down  upon 
the  Suwanee  Ribber,''  or  ^^Flow  gently,  sweet 
Afton."  If  you  are  fifty-eight,  love-songs  are 
scarcer  and  not  so  quickly  recognized  as  such, 
[  50] 


The  Training  of  the  Mind-Ear 

but  the  true  love-song  will  then  have  gained 
immensely  in  depth  of  meaning,  especially  if 
the  words  are  left  out. 


Returning  now  to  the  process  of  develop- 
ment in  playing  the  piano,  let  us  see  how  we 
logically  apply  the  fundamental  principles  of 
good  teaching. 

Again,  the  first  step  will  be  to  arouse  the 
pupil's  interest;  therefore,  the  teacher  should 
play  the  piece  as  a  whole  exactly  as  it  should 
sound.  This  is  not  done  for  imitation  on  the 
part  of  the  pupil,  but  in  order  to  kindle  his 
interest,  to  give  him  a  general  impression  of 
the  character  of  the  music  and  to  set  for  him 
a  goal  toward  which  to  strive.  He  will  not 
remember  the  details  of  melody,  harmony  and 
phrasing,  so  that  there  will  be  no  danger  of 
loss  of  initiative  in  discovering  these  for  him- 
self. All  elementary  conceptions  recognize 
complete  objects  more  readily  than  incom- 
plete ones,  even  though  the  complete  be  more 
complex.  The  reason  for  this  lies  in  the  fact 
that  the  complete  object  expresses  itself  and 
explains  itself  by  means  of  its  functions.  For 
instance,  a  child  will  readily  recognize  a 
wagon  as  such  when  he  plays  with  his  little 
express  cart,  pulling  it  along  by  the  pole, 
[  51  ] 


Application 
of  funda- 
mental 
principles 
to  study 
of  piano 


Some  Essentials  hi  the  Teaching  of  Music 

watching  its  wheels  turn  and  putting  sand  or 
sister's  doll  into  the  box.  But  if  we  were  to 
give  the  child  the  wheels,  then  the  bottom  of 
the  box,  then  the  sides  and  then  the  pole  and 
try  to  explain  to  him  what  the  wagon  would 
be  if  these  parts  were  all  put  together,  his 
conception  of  a  wagon  would  probably  be  a 
queer  one.  We  therefore  follow  in  elementary 
teaching  the  rule:  Present  the  zvhole  before 
its  parts. 

So  presented,  these  parts  will  become  in- 
telligible to  the  child-mind  through  their  rela- 
tion to  the  whole;  while,  dissociated  from 
this  relation,  they  are  meaningless. 


^f°%  The  next  step  will  be  the  pupil's  own  effort 

expression  to  express  himself  through  this  piece.  He  has 
some  knowledge  of  the  notes  and  some  ac- 
quaintance with  the  keys  of  the  piano;  how 
shall  he  apply  this  knowledge?  Shall  he  read 
the  first  note  and  then  touch  the  key  which 
corresponds  to  it,  then  the  next  note  and  key 
and  so  on?  No,  indeed.  That  would  be 
purely  mechanical  and  would  tend  to  destroy 
the  musical  interest  just  aroused  by  the 
teacher's  playing.  It  would  be  the  playing 
of  a  succession  of  detached  tones  having  no 
musical  significance  and  being  in  no  recog- 
[  52  ] 


The   Training  of  the  Mind-Ear 

nizable  relation  to  the  piece  as  a  whole.  The 
better  way  would  be  to  let  the  pupil  sing  the 
first  phrase  of  the  melody  and  play  it  as 
connectedly  as  possible.  This  phrase  should 
be  repeated  as  often  as  may  be  necessary  to 
secure  accuracy,  proper  rhythmic  grouping, 
emphasis  and  phrasing.  Then  the  accom- 
panying hand  should  join  —  preferably  with- 
out first  playing  alone.  This  will  usually  be 
possible,  because  the  melody-hand  will  re- 
quire little  attention  after  it  has  gained  the 
"feel"  of  its  tune  by  repetition. 

In  this  manner  phrase  will  be  added  to 
phrase  until  the  whole  piece  is  finished.  As 
the  musical  quality  of  each  phrase  will  have 
been  maintained,  there  will  have  resulted  no 
loss  of  interest  in  the  analytic  process  of  be- 
coming familiar  with  the  parts,  and  the  piece 
as  a  whole  will  come  appreciably  closer  to  a 
correct  interpretation. 

*  * 

This  process  of  teaching  the  reading  from  Reading 

from  notes 
notes  corresponds  to  modern  ways  of  teaching  as  corn- 
reading  from  books.     Formerly,  children  were  ^^^.f^ 
taught   to    read    each    letter   and    then    these  mg  from 
were  put  together  to  form  the  word.     To-day  ^oo^s 
they  are  taught  to   recognize  the  word   as   a 
whole,    this    whole    representing    some    object 
[  53  ] 


r 


J  (■ 


Some  Essentials  in  the  Teaching  of  Music 

or  mental  conception;  then,  and  not  till  then, 
is  it  broken  up  into  its  component  parts,  the 
letters. 
"^^^i    ca^^  p^yf,  .*/^^/^  , .  .„. ; 


musical 
phrases  in 
reading 
them 


/ 


,v* 


Another  important  object  is  gained  by  this 
process.  The  child,  in  reading  each  phrase, 
becomes  more  and  more  expert  in  hearing  the 
tones  represented  by  the  notes  before  playing 
them.  Consequently,  the  moment  a  key  is 
struck  which  does  not  correspond  to  the  sound 
expected  by  the  mind-ear,  it  will  be  detected 
as  an  error  and  corrected.  Furthermore,  this 
reading  of  the  phrases  with  the  mind-ear  de- 
velops greater  speed  and  accuracy  in  sight- 
playing,  a  most  important  accomplishment 
which  is  unfortunately  rare  among  music- 
students. 


/. 


Adaptation 
of  tech- 
nique to 
musical 
require- 
ments 


In  the  course  of  working  out  the  playing  of 
each  phrase,  certain  so-called  technical  diin- 
culties  will  develop,  such  as  the  even,  rapid 
playing  of  a  portion  of  a  scale,  the  smooth 
playing  of  a  broken  chord,  or  the  accurate 
execution  of  a  rhythmic  figure  with  dotted 
notes.  In  all  cases  the  pupil's  mind  should  be 
kept  concentrated  on  the  musical  quality  and 
significance  of  this  detail,  and  he  should  be 
[  54  ] 


The  Training  of  the  Mind-Ear  ^^v-  ■  •' 

made  to  strive  toward  its  realization.    A  hint  >>-  c-^-^^ -"^ 
from  the  teacher  from  time  to  time  as  to  how     ,^^  "-■i-^<-c,^' 
best  to  use  the  fingers   should   suffice.     The      ^^     . 
actual   doing  of  the  phrase,   repeated   always  Ki--.' i 
with  the  object  of  expressing  its  musical  ^''^g-''J^)^f<J<yX 
nificance,   will   develop  naturally   (and  there- 
fore correctly)  the  tools  of  expression. 

It  is  not  to  be  inferred  that  the  practice  of 
finger-exercises,  scales  and  arpeggios  is  wrong. 
On  the  contrary,  they  are  absolutely  neces- 
sary at  the  proper  time  and  in  the  proper  way, 
but  not  at  this  stage.  At  present  we  are  con- 
cerned in  developing  just  as  much  technical 
ability  as  is  needed  for  the  expression  of  music 
suited  to  the  child's  age  and  mentality;  and 
we  are  also  engaged  in  forming  correct  musical 
conceptions,  among  which  should  be  the  im- 
portant one  that  technique  is  to  serve  music, 
not  that  music  is  the  vehicle  of  technique. 
We  should,  therefore,  provide  at  this  stage 
only  such  exercises  as  are  immediately  appli- 
cable and  necessary  to  the  proper  execution  of 
the  musical  material  under  study.  These  ex- 
ercises should  be  repeated  solely  with  the  view 
of  approaching  nearer  to  the  musical  purpose 
of  the  phrase  in  which  they  occur.  Hence,  it 
is  important  that  attention  should  be  given, 
not  to  the  number  of  repetitions,  but  to  the 
quality.  Each  repetition  should  come  nearer  to 
the  ideal  set  by  the  pupil's  musical  conception. 
[  55  ] 


Some  Essentials  in  the   Teachiii^  of  Music 


Definition 
of  tech- 
nique 


We  have  been  using  the  word  technique  fre- 
quently, and  it  may  be  desirable  to  define  its 
meaning  and  function  clearly  before  we  dis- 
cuss the  larger  problems  in  which  it  forms  an 
important  factor. 

Primarily,  technique  denotes  the  skill  in  ap- 
plying the  physical  equipment  required  in  art- 
expression.  When  we  speak  of  piano-tech- 
nique, violin-technique,  etc.,  we  mean  the 
special  skill  required  for  musical  expression  in 
a  way  characteristic  of  each  instrument.  We 
have  already  noted  that,  although  the  phys- 
ical means  of  music-expression  are  mechanical, 
their  application  is  directed  by  the  feelings 
and  the  intellect;  hence,  we  must  not  study 
technique  as  a  thing  apart,  but  always  in  asso- 
ciation with  a  musical  motive  and  purpose. 

The  study  of  technique  therefore  involves 
not  only  the  training  of  nerves,  muscles,  etc., 
but  also  of  certain  intellectual  functions,  such 
as  the  power  of  concentration,  the  formation 
of  correct  habits  of  thought,  the  development 
of  critical  judgment  and  the  formation  and 
schooling  of  the  memory.   / 


Adaptation  Remembering  our  previous  conclusion,  that 
^queto  ^^^  fingers  should  not  be  required  to  execute 
pupil's  ca-     what  the  mind  and  heart  do  not  understand, 

[  56  1 


The  Training  of  the  Mind-Ear 


the  teacher  should  begin  by  finding  out  the 
pupil's  capacity  for  feeling  and  thought  and 
adapt  the  technique  to  this  standard.  With 
greater  mental  maturity  and  power,  and  with 
greater  scope  and  depth  of  his  emotional  life, 
the  demands  on  his  powers  of  expression  will 
also  grow;  consequently,  his  technique  or  skill 
in  expression  will  require  extension. 


pacity  of 
thought 
and  feel- 
ing 


The  first  requisite,  therefore,  is  to  discover 
exactly  where  the  student  stands,  not  only  at 
the  beginning,  but  constantly.  Moreover,  the 
music-teacher  will  not  rest  satisfied  with  the 
mental  and  emotional  capacity  of  the  pupil  as 
he  finds  it,  but  will  endeavor  to  round  out 
incomplete,  and  correct  imperfect  or  wrong, 
conceptions.  He  will  stimulate  his  imagina- 
tion by  stories,  poems,  etc.;  select  books  which 
will  interest  him  and  at  the  same  time  help  to 
form  his  character;  finally,  he  will  arouse  his 
Interest  in  all  forms  of  the  beautiful  in  nature 
and  art,  in  nobility  of  character  and  in  ideal 
conceptions. 


Develop- 
ment of 
pupil's 
mental  and 
emotional 
capacity 


All  this  can  and  should  be  accomplished  as  a  I^evelop- 

-.     .  ,  .  r.        ,     .  ment  of 

concomitant  part  oi  the  teaching  oi  technique,  pupil  from 

The  pupil  will  gladly  accompany  the  teacher  within 

f  57  1 


Some  Essentials  in  the  Teaching  of  Music 

into  these  higher  realms,  provided  the  teacher 
remains  ever  at  his  side.  The  secret  of  suc- 
cess lies  in  the  teacher's  ability  to  descend  to 
the  pupil's  level  and  thence  to  lead  him  up- 
ward. No  matter  how  wise  the  teacher  may 
be,  he  cannot  pour  his  wisdom  into  the  pupil's 
mind  so  that  it  will  truly  serve  him.  Each 
one's  wisdom  must  be  self-developed  from 
within  his  own  consciousness  in  order  that  it 
shall  be  a  part  of  him. 

The  teacher  must  put  himself  in  the  pupil's 
place,  realize  his  viewpoint  and  capacity  for 
thought  and  feeling  and,  guided  by  his  own 
knowledge  and  experience,  show  him  how  to 
discover  the  next  higher  step  in  the  ladder  of 
advancement. 


Concen-  Q^g  of  -j-j^g  ^j-st  requisites  in  the  study  of 

tration  ....  ^    ^  .  ;L,  . 

anything  is  the  power  ot  concentration.     1  his 

power  can  be  applied  for  only  brief  periods  in 

young  children,  but  it  can  be  developed  to  a 

high  degree.     Its  root  is  interest.     As  long  as 

the   child    is    interested,    he    will    concentrate 

himself  upon  any  occupation.     When  he  tires, 

interest   ceases,   and   it  is   then   advisable   to 

change  the  occupation,  returning  to  the  former 

one  when  he  tires  of  this  in  turn.    As  the  mind 

matures,  this  power  of  concentration  becomes 

[58] 


The  Training  of  the  Mind-Ear 

more  and  more  controllable  by  the  will,-  and  it 
will  then  be  necessary  to  develop  and  train  the 
will  to  concentrate.  No  one  method  of  doing 
this  can  be  designed,  as  each  pupil  must  be 
reached  through  his  own  channels  of  willing 
cooperation. 


The  development  of  critical  judgment  Is  C^'^tic*! 
largely  accomplished  through  the  formation  of 
good  taste  by  means  of  contact  and  intel- 
lectual experience  with  the  beautiful,  true  and 
good,  and  by  comparison.  Here  again  the 
skill,  ingenuity  and  knowledge  of  the  teacher 
must  select  and  adapt  the  best  ways  and 
means  to  secure  results.  Great  care  should 
be  taken  that  the  pupil's  judgment  is  really 
his  own,  not  that  of  his  teacher.  He  cannot 
be  expected  to  see  farther  or  clearer  than  the 
limit  of  illumination  which  his  intellectual 
candle  creates  and  permits.  Were  he  to  try 
to  see  all  that  the  teacher's  electric  search- 
light shows,  he  would  become  hopelessly  con- 
fused with  the  multitude  and  complexity  of 
impressions  which  his  mind  is  as  yet  unable 
to  grasp,  coordinate  and  apply,  and  which 
would,  therefore,  blur  and  distort  his  critical 
judgment. 

[  59  ] 


Some  Essentials  in  the  Teaching  of  Music 

Memory  'p^g  formation  and  schooling  of  the  memory 
is  one  of  the  most  important,  and  also  one  of 
the  most  interesting,  of  tasks.  Its  purpose  is 
to  make  the  vehicle  of  musical  expression,  the 
song,  or  the  composition  for  piano,  violin  or 
other  instrument  so  much  part  of  one's  self 
that,  instead  of  dividing  one's  attention  in  the 
reading  of  notes,  technical  details,  etc.,  our 
whole  interest  may  be  concentrated  on  inter- 
pretation and  self-expression. 

The  usual  procedure  in  memorizing  is  to 
"play  the  phrase  or  piece  over  and  over  until 
you  know  it."  Memory  cultivated  by  this 
process,  however,  is  a  very  unreliable  staff  to 
lean  on.  If  anything  occurs  to  stop  the 
player,  he  will  find  it  impossible  to  start  again 
where  he  left  off,  or  at  any  other  point;  he 
will  have  to  return  to  the  beginning  or,  at 
best,  to  a  major  subdivision.  The  reason  for 
this  lies  in  the  fact  that  this  kind  of  memory 
is  purely  mechanical,  depending  upon  sub- 
conscious reflex  action  of  the  physical  appa- 
ratus of  expression.  This  mechanical  memory 
must  be  cultivated,  for  it  has  to  do  an  im- 
portant share  of  the  work;  but  it  should  not  be 
exclusively  depended  upon.  The  most  reliable 
props  of  the  memory  are  those  formed  of  asso- 
ciations with  related  conceptions  of  the  senses, 
mind  or  emotions.  In  other  words,  mnemonics 
are  best  established  by  linking  mental,  sensual 
['60  1 


The  Training  of  the  Mind-Ear 

and  emotional  Impressions  in  such  manner 
that  each  link  touches,  i.  e.,  suggests,  the 
next.  That  the  mind-ear  must  play  an  im- 
portant part  in  this  process  will  appear  self- 
evident,  for  by  the  quick  and  certain  recog- 
nition of  melodic  and  harmonic  progressions, 
rhythmic  configuration,  form-characteristics 
and  emotional  qualities,  the  concrete  mental 
picture  will  be  registered  and  preserved  in  the 
brain,  ready  to  be  reproduced  at  will. 

* 

Repetition  is  a  necessary  exercise  for  the  Repetition 
purpose  of  deepening  the  brain-impressions 
and  also  for  securing  the  rapid,  subconscious 
response  of  the  physical  apparatus  referred  to 
above,  but  this  must  act  in  harmony  with  and 
under  the  direction  of  the  mental  faculties  — 
not  by  itself,  in  purely  mechanical  fashion. 
*         * 

Unless  this  training  of  the  memory  Is  begun  ^^^}X  , 
at  a  very  early  stage  in  the  study  of  music,  It  memory 
will  be  very  difficult  to  accomplish.  In  the 
formation  of  mental  habits  It  Is  Important 
that  the  first  exercises  should  be  of  the  simplest 
kind  and  that  they  should  be  frequently  done, 
but  In  ever-varying  form.  In  other  words, 
the  mind  must  be  kept  active  and  alert  to 
[61  ] 


Some  Essentials  in  the  Teaching  of  Music 

recognize  minute  differences  in  the  musical 
phrases  to  be  memorized,  and  to  make  these 
differences  an  aid  in  remembering  phrases  of 
otherwise  similar  characteristics. 


Musical 
dictation 
an  aid  to 
memory 


Natural 
and  ac- 
quired 
musical 
memory 


A  very  helpful  exercise  as  an  aid  of  memo- 
rizing is  to  write  down  from  hearing  a  musical 
phrase  sung  or  played  —  that  is,  from  musical 
dictation.  The  actual  effort  to  express  the 
musical  tones  by  symbols  tends  to  impress  the 
mind  more  deeply  than  simply  hearing  or  play- 
ing can  do;  and  when  all  three  means  are  em- 
ployed, the  impression  is  usually  a  lasting  one. 


*  * 

* 


There  are  some  people  so  endowed  by  nature 
that  they  can  remember  musical  impressions 
very  clearly  without  much  previous  musical 
preparation.  This  phenomenon  must  be  classi- 
fied with  those  which  we  call  talents.  It  would 
be  a  mistake,  however,  to  argue  that  such 
talents  need  no  development,  or  that  people 
who  have  not  such  a  talent  cannot  acquire  a 
musical  memory.  The  formers'  natural  gift  is 
usually  limited  to  the  simplest  commonplaces 
of  musical  expression,  and  should  be  extended 
to  include  everything  which  they  are  capable 
[62] 


The  Training  of  the  Mind-Ear 


of  expressing.  The  latter  Invariably  possess  a 
latent  faculty  of  memory  which  needs  only 
awakening  and  development  to  perform  its 
functions  normally. 


One  of  the  most  difficult  problems  for  the 
teacher  to  solve  is  the  development  in  the 
pupil  of  correct  habits  of  thought.  As  a  rule, 
this  is  left  almost  entirely  to  chance,  so  that 
even  a  naturally  intelligent  pupil  fails  to  bring 
his  work  Into  logical  and  harmonious  relation 
to  its  musical  purpose.  The  creation  of  a 
habit  requires  frequent  doing  of  the  same  thing 
in  the  same  way.  It  Is  therefore  important 
that  the  mind  should  be  on  the  alert  to  see 
that,  once  a  clear  conception  of  the  musical 
purpose  Is  established,  this  element  of  sameness 
shall  be  carefully  preserved;  for  if  a  thing  is 
done  In  different  ways,  no  habit  will  result, 
and  the  product  will  vary. 


Correct 
habits  of 
thought 


The    formation    of    a    habit    of    thought    In    Clear  con- 
.  J .  ,  .  -  .  ,    f      °  ^     ception  of 

guidmg  the  various  lunctions   and  lactors  or    musical 

musical   expression   demands   first  of  all   that    objective 
the    mind    shall    recognize    the    ultimate    ob- 
jective  clearly  and   face   it  unswervingly,   no 
[  63  j 


Some  Essentials  in  the  Teaching  of  Music 

matter  what  subsidiary  activities  may  require 
its  attention.  Just  as  the  tight-rope  walker 
selects  a  distant  point  straight  ahead  to  en- 
able him  to  find  safe  footing  on  his  slender  and 
precarious  path,  the  mind  must  keep  its  gaze 
on  the  final  musical  objective,  and  all  other 
mental,  physical  and  emotional  functions  must 
converge  toward  the  same  objective.  For 
this  reason,  the  pupil  should  always  be  per- 
mitted to  become  acquainted  with  the  musical 
object  of  the  expression  as  a  whole.  When- 
ever possible,  this  should  be  done  by  letting 
him  hear  a  good  performance  of  it;  but  if  this 
is  impracticable  —  especially  with  advanced 
students — -a  reading  at  sight  of  the  composition 
as  a  whole,  even  if  imperfectly  rendered,  will 
suggest  to  him  the  ideal  form  it  should  ulti- 
mately take. 


Recogni- 
tion of 
content  of 
musical 
thought 


The  next  logical  step  will  be  to  determine 
the  extent  and  content  of  each  musical  thought, 
making  it  the  subject  of  study  and  practice 
until  it  assumes  intelligible  form  and  expres- 
sion. Its  study  must  determine  its  rhythmic 
grouping,  its  points  of  emphasis,  its  climax 
and  its  transition  to  and  connection  with  the 
succeeding  thought.  Its  practice  will  em- 
brace the  adaptation  of  the  organs  of  expression 
164] 


The   Training  of  the  Mind-Ear 

to  their  task,  such  as  the  production  of  the 
right  quality,  quantity  and  character  of  tone, 
the  rendition  of  rapid  passages  with  flexibility, 
smoothness,  brilliancy  and  proper  relation  to 
the  context,  and  the  development  of  the  most 
subtle  shades  of  emotional  expression. 

In  the  chapter  on  "How  to  Study,"  the  ap- 
plication of  these  habits  of  study  and  practice 
will  be  discussed  in  detail.  For  the  present 
purpose  it  will  suffice  to  point  out  that  the 
central  musical  objective  will  guide  the  ana- 
lytical, critical  and  constructive  processes  of 
thought  in  the  right  direction  and  that,  if 
they  be  always  carried  on  in  the  same  logical 
order,  habits  of  thought  will  be  formed  which 
will  insure  the  recognition  of  and  attention  to 
every  detail  of  musical  expression,  large  and 
small,  the  part  and  the  whole. 


We  have  now  arrived  at  the  point  where  we    Physical 


processes 
in  tech- 


may    discuss    the    physical    side    of    technique 
without   danger   of  over-emphazising   its    im-    iiiq^e 
portance  or  of  mistaking  its  proper  functions 
in  self-expression. 

All  the  physical  processes  of  musical  expres- 
sion involve  the  use  of  muscles.    Each  process 
requires  the  use  of  certain,  definite  combina- 
tions of  muscles  acting  together  coordinately 
[65  ] 


Some  Essentials  in  the  Teaching  of  Music 

and  reciprocally.  When  this  is  effected  cor- 
rectly, without  interference  by  other  muscles, 
the  result  will  be  satisfactory  and  will  accu- 
rately carry  out  the  musical  conception  to  be 
expressed.  Unfortunately,  there  is  an  inherent 
tendency  in  the  human  body  for  sympathetic 
action  of  contiguous  or  related  muscles,  and 
this  action  produces  not  only  unnecessary 
waste  of  tissue,  but,  what  is  worse,  an  inter- 
ference with  the  action  of  the  proper  muscles. 
Our  task,  therefore,  must  be  so  to  train  the 
apparatus  of  expression  that  only  the  neces- 
sary muscles  perform  each  process,  and  that 
all  others  remain  in  a  state  of  rest.  It  is  ob- 
vious, consequently,  that  the  first  condition 
for  a  good  physical  technique  is  a  state  of  re- 
laxation, so  that  the  muscles  may  be  ready  to 
spring  directly  into  action  without  first  having 
to  release  themselves  from  some  previous  con- 
dition of  strain.  It  is  usually  quite  easy  to 
secure  this  relaxation  in  the  child,  but  often 
extremely  difficult  in  adults,  because  of  nerv- 
ous conditions,  bad  habits  acquired  by  faulty 
use  of  the  muscles,  and  also  carelessness. 


Independ-  Such  cases  will  tax  the  resourcefulness  of 
muscular  the  teacher  severely,  but  unless  they  are  suc- 
action  cessfully    mastered    no    satisfactory    progress 

[  66  1 


The  Training  of  the  Mind-Ear 

can  be  made.  One  of  the  most  necessary  qual- 
ities for  success  in  this,  as  in  most  other  things, 
is  patience  on  the  part  of  both  teacher  and 
pupil,  for  the  wrong  habits  of  years  cannot  be 
cured  in  a  day  or  a  week,  but  will  require  in- 
telligent daily  practice  for  months.  When 
once  general  relaxation  is  secured,  it  will  be 
less  difficult  to  secure  independent  action  of 
the  muscles  needed  in  any  one  act  of  expression. 
Every  one  knows  the  tendency  of  the  little 
finger  (fifth)  to  move  in  sympathy  with  the 
fourth.  This  will  persist  until  the  muscles  of 
the  fifth  finger  have  become  strong  enough  and 
conscious  enough  of  their  own  function  to 
"mind  their  own  business."  The  difficult  exer- 
cise, therefore,  which  is  usually  prescribed  to 
remedy  this  condition,  the  slow  trill  on  the 
fourth  and  fifth  fingers  with  the  other  fingers 
resting  on  the  keys,  is  not  advisable,  because  in 
the  weak  condition  of  the  muscles  of  both  fin- 
gers, especially  the  fifth,  they  call  in  the  help  of 
other  muscles  not  really  needed  in  the  process, 
and  thereby  stiffen  the  hand  and  wrist. 

By  dint,  then,  of  using  only  the  necessary 
set  of  muscles  for  a  given  action,  we  not  only 
preserve  the  state  of  relaxation  proper  for  all 
other  muscles,  but  we  secure  independent  ac- 
tion—  a  very  important  quality.  In  the 
study  of  the  piano,  this  independence  of  action 
must  be  acquired  not  only  between  the  fingers 
[  67  ] 


Some  Essentials  in  the  Teaching  of  Music 

of  each  hand,  but  also  between  the  hands 
themselves.  Easy  studies  in  contrapuntal 
style  best  serve  this  purpose. 


Strength 
and  en- 
durance 


Other  qualities  to  be  developed  in  the 
muscles  are  strength  and  endurance.  These 
will  not  be  secured  by  strong  and  long  use, 
but,  on  the  contrary,  by  gentle  use  in  short, 
frequent  periods  of  practice.  Nature  will  not 
permit  forced  growth  except  at  a  sacrifice  of 
other  important  qualities.  The  building  up  of 
muscular  tissue  is  a  slow  process;  the  slower 
and  steadier,  the  finer  will  be  the  grain  and 
the  more  capable  of  producing  strength  and 
endurance.  Much  irreparable  harm  has  been 
done  by  teachers  who  try  to  develop  a  *'big 
tone"  in  little  people  whose  proper  scale  of 
expression  cannot  possibly  equal  that  of  the 
mature  artist. 


Speed  and 
flejdbility 


The  qualities  of  "speed"  and  "flexibility" 
can  also  be  secured  only  on  the  basis  of  slow 
practice.  The  running  of  a  clean,  smooth 
scale,  whether  by  the  voice  or  on  an  instru- 
ment, depends  primarily  not  upon  speed,  but 
upon  the  perfect  control  of  the  muscles  by 
[68  ] 


The   Training  of  the  Mind-Ear 

which  they  are  made  to  produce  a  tone  of  the 
exact  quality  and  strength  required  to  bring 
it  into  proper  relation  to  its  neighboring  tones, 
or,  in  the  case  of  gradual  crescendo  or  diminu- 
endo, with  the  carefully  graduated  increase  or 
decrease  in  strength.  Only  slow  practice, 
constant,  concentrated  control  and  direction 
of  the  "mind-ear"  will  accomplish  this. 


Tone-quality  might  be  designated   as   that    ^°'^,?" 
f  1-1  1  1  •      •  quality 

leature  which  presents  the  sound  in  its  greatest 

musical  purity.  The  science  of  physics  teaches 
us  that  the  irregular  vibration  of  a  sound-pro- 
ducing substance  produces  noise;  the  more 
regular  the  vibrations,  the  purer  the  musical 
sound.  The  most  perfect  musical  tone  is  that 
produced  by  the  most  regular  vibrations.  In 
developing  a  good  tone  in  voice  or  instru- 
ment, the  ear  must  be  the  chief  arbiter  and 
guide.  By  rejecting  that  which  is  noisy, 
harsh,  nasal,  guttural,  and  by  constant  effort 
toward  the  tone  ideal,  the  muscles  will  ulti- 
mately find  and  adopt  a  habit  of  action  which 
will  satisfy  the  standards  set  by  the  ear.  The 
ear  must,  therefore,  be  always  on  guard  at 
all  practice,  no  matter  what  other  immediate 
aim  be  its  object,  for  perfection  of  musical 
[69  ] 


Some  Essentials  in  the  Teaching  of  Music 

quality  is  one  of  the  first  requisites.  It  is 
not  to  be  supposed,  however,  that  the  pure 
musical  tone  is  the  one  best  adapted  to 
emotional  expression.  On  the  contrary,  it 
is  by  modifications  of  the  pure  tone  that 
we  secure  variety  and  characteristic  quali- 
ties. The  pure  tone  should  therefore  serve 
chiefly  as  an  aesthetic  standard  or  ground- 
work capable  of  such  modification  as  the 
exigencies  of  expression  may  require. 


* 
* 


Tone-  Tone-quality  must  not,   therefore,   be  con- 

fused with  tone-character,  color  or  variety  of 
touch,  bowing  or  vocal  utterance.  As  to  these 
latter,  which  embrace  the  legato  or  slurred 
tones,  the  various  kinds  of  staccato  or  de- 
tached, the  portamento  or  portato,  etc.,  etc., 
the  main  thing  is  to  give  the  pupil  a  clear 
idea  of  their  true  essence  and,  as  with  tone- 
quality,  the  ear  will  guide  the  muscles  to  pro- 
duce the  exact  variety  required.  This  does  not 
preclude  such  guidance  on  the  part  of  the 
teacher  as  his  experience  may  enable  him  to 
apply,  but  this  should  not  take  the  place  of 
the  pupil's  own  thorough  understanding  of 
the  object  to  be  attained  and  of  his  own  effort 
toward  attaining  it. 

[  70  ] 


The  Training  of  the  Mind-Ear 

Tone-character  differentiates  different  voices  Various 
1   .  c  111  >-r<i  phenomena 

and  instruments  irom  each  jother.  ihus  we  of  tone- 
recognize  the  peculiar  character  of  the  So-  character 
prano  as  distinguished  from  the  Contralto, 
Tenor  and  Bass  voices;  the  flute,  the  clarinet, 
the  oboe,  the  French  horn,  trumpet  and  trom- 
bone. Each  has  its  definite  tone-character 
with  easily  recognizable  characteristics.  With- 
in each  of  these  groups  we  are  also  able  to  dis- 
tinguish individual  tone-character.  No  two 
Soprano  voices  are  exactly  alike,  no  two  vio- 
linists, pianists,  flutists,  oboists,  etc.  In  other 
words,  tone-character  forms  a  large  element 
in  self-expression,  for  the  individuality  of  the 
performer  expresses  itself  in  part  through  this 
quality.  But  in  addition  to  this  inherent 
nature  of  tone-character,  it  has  another  im- 
portant application,  namely,  in  using  tone 
for  the  characterization  of  emotional  states, 
poetic  conceptions  or  in  onomatopoetic  ex- 
pression. 

Thus,  we  may  characterize  on  any  instru- 
ment nobility  in  declamatory  utterance,  the 
conception  of  heroic  deeds,  or  the  buzzing  of 
bees,  the  rustling  of  leaves,  etc.  In  this 
application  of  tone-character  it  forms  an  im- 
portant part  of  the  musician's  equipment 
and  is  an  essential  element  in  higher  inter- 
pretation. 

[  71  ] 


Some  Essentials  in  the   Teaching  of  Music 

Tone-color  Tone-color  is  a  term  borrowed  from  a  sister 
art,  just  as  painting  has  adopted  "tone"  in  its 
use  of  colors.  While  there  are  those  who  im- 
agine that  they  can  see  red,  green,  blue,  etc., 
in  tones  or  tonalities,  the  term  is  more  gener- 
ally employed  in  the  sense  of  light,  bright,  dark 
or  sombre.  In  this  application,  tone-color  is 
easily  brought  into  relation  with  emotional  ex- 
pression, sad  moods  seeking  dark,  and  joyous 
moods  calling  for  brighter  tone-color.  It  is  a 
quality  which  is  more  easily  found  in  the 
voice  than  in  instruments,  and  is  therefore  not 
easily  attainable  by  the  piano  or  violin  student 
\n  the  less  advanced  stages,  but  there  is  no 
harm  in  recognizing  its  existence  and  in  per- 
mitting the  pupil  to  strive  tentatively  toward 
its  use. 


Harmoni- 
ous action 
of  mind- 
ear  with 
physical 
apparatus 


As  all  the  foregoing  qualities  of  physical 
utterance  depend  upon  the  adaptation  to  their 
ends  of  the  muscular  apparatus  under  guid- 
ance and  direction  of  the  mind-ear,  these  two 
factors  in  musical  expression  must  work  ever 
in  harmony  and  must  grow  gradually  through 
their  efforts  to  master  each  musical  problem 
which  presents  itself  for  solution.  No  one 
quality  should  be  practiced  and  developed  for 
its  own  sake,  but  only  in  relation  to  a  musical 
[  72  ] 


The  Training  of  the  Mind-Ear 

purpose.  If  this  plan  is  strictly  adhered  to, 
there  will  result  not  only  an  even,  all-round 
development  of  all  means  of  expression,  but 
the  pupil's  interest  will  never  flag. 


[73  ] 


CHAPTER  III 

Interpretation 

I.     Musical  Form 

Art-forms  Concomitantly    with    the    development    of 

the  physical  processes  of  musical  expression 
which  we  have  just  discussed  must  go  the 
recognition  of  the  art-forms  and  of  the  mu- 
sical or  poetic  contents  in  which  this  expres- 
sion is  conveyed.  Here  again  it  is  desirable  to 
sow  the  seeds  of  comprehension  at  an  early 
age  in  order  that  the  pupil  may  recognize  it 
as  an  integral  part  of  music,  not  an  arbitrary 
adjunct  imposed  upon  him  at  a  time  when  his 
musical  studies  are  already  sufficiently  com- 
plex and  arduous.  All  true  interpretation  in 
art  depends  to  a  great  extent  upon  a  knowledge 
of  art-form  and  its  spiritual  contents.  The  for- 
mer requires  intellectual  activity,  the  latter 
psychical  sensitiveness  and  quick  response  to 
emotional  and  poetic  suggestion. 


^y™"  All  art  expresses  itself  through  the  vehicle 


metry 


of  form,   and  this  form  reveals  itself  chiefly 

through  the  symmetric  grouping  of  elements 

[74] 


Interpretation 


defining  dimension  in  space  or  time.  Thus, 
the  symmetric  arrangement  of  perpendicular 
and  horizontal  lines  enables  the  architect  to 
give  artistic  form  to  his  building.  The  sym- 
metric moulding  of  clay  on  a  beautiful  curve 
produces  the  vase  which  is  the  potter's  art- 
form.  The  symmetric  lines  of  the  human 
figure  gave  Phydias  his  form  of  expression. 
The  landscape-painter  composes  his  picture 
on  freely  symmetric  lines.  The  poet  expresses 
himself  through  verses  of  similar  length  bal- 
ancing each  other  with  rhymes.  The  musi- 
cian, finally,  employs  phrases  of  an  equal 
number  of  rhythmic  groups  brought  into 
relation  to  each  other  by  corresponding  ca- 
dences. 

But  other  elements  besides  symmetry  are  Contrast 
employed  in  the  creation  of  art-form.  The 
next  in  importance  is  contrast.  Symmetry  is 
founded  on  likeness,  similarity;  contrast,  on 
difference.  Thus  it  is  the  necessary  foil  of 
symmetry,  which  brings  it  into  stronger  relief. 
To  cite  a  few  examples  of  the  manner  of  em- 
ploying this  element  in  art:  The  architect  de- 
signs a  building  in  which  the  horizontal  lines 
of  two  long  wings  are  contrasted  with  the  per- 
pendicular lines  of  the  higher  central  structure, 
[  75  ] 


Some  Essentials  in  the  Teaching  of  Music 

whose  portal  perhaps  consists  of  a  Doric  order 
to  emphasize  the  contrast  between  horizontal 
and  perpendicular.  Or,  he  may  place  a  tower 
in  one  corner  of  an  otherwise  symmetrically 
built  church,  which,  by  its  asymmetric  position, 
emphasizes  the  symmetry  of  the  rest.  The 
poet  writes  a  sonnet,  contrasting  the  two 
stanzas  of  four  lines  each  with  the  two  that 
follow  them  of  only  three  lines.  The  musician 
introduces  a  contrasting  period  between  the 
first  and  third  symmetric  periods  of  his 
primary  form;  or  he  contrasts  a  slow  second 
movement  with  the  two  quick  first  and  third 
movements  of  his  sonata. 

*         * 
* 

Repetition  Another  important  element  In  form  is  repe- 
tition; indeed,  in  some  respects  it  is  the  most 
important,  because  it  is  the  most  elementary 
evidence  of  form-sense  and  feeling.  The  sav- 
age, in  decorating  his  pottery  and  basket- 
work,  symbolizes  some  object  in  nature,  such 
as  a  flower,  a  bird  or  a  beast,  by  a  conven- 
tionalized figure;  and  this  figure  is  repeated  in 
symmetrical  grouping.  In  the  higher  art- 
forms,  also,  it  is  repetition,  in  various  relations 
of  symmetry  and  contrast,  which  forms  the 
principal  element  of  artistic  expression.  This 
element  of  repetition  is  utilized  in  polyphony  in 
[  76] 


Interpretation 


the  form  of  imitation,  the  basis  of  the  contra- 
puntal art-forms. 


It  is  not  within  the  proper  scope  of  this 
small  volume  to  pursue  the  history,  the  de- 
velopment, or  the  study  of  Musical  Form  as 
such.  Our  present  purpose  is  served  by  point- 
ing out  its  chief  constituent  elements,  in  order 
that  the  intelligent  teacher  may  direct  the 
pupil  to  their  recognition,  thereby  preparing 
the  way  for  the  future  comprehension  of  art- 
forms  as  such,  whenever  he  may  be  sufficiently 
mature  in  mind  to  understand  them.  It  is 
scarcely  necessary  to  say  that  the  pupil's 
knowledge  of  Form,  from  the  simplest  to  the 
most  complex,  should  be  derived  from  the 
practical  examples  with  which  his  musical 
studies  have  made  him  familiar. 

Reciprocally,  his  knowledge  of  the  elements 
of  Musical  Form  will  enable  him  to  interpret 
intelligently.  He  will  recognize  the  motifs  sec- 
tion, phrase  and  period  as  parts  of  or  complete 
musical  thoughts;  will  place  accents  and  em- 
phasis properly;  will  bring  the  parts  into  cor- 
rect relation  to  the  whole  —  in  short,  he  will 
know  whereof  he  speaks  instead  of  playing 
aimlessly  and  mechanically.  But  all  this  only 
if  the  teacher  has  gradually  made  this  know- 
[  77  \ 


Study  of 

musical 

form 

through 

practical 

examples 


Some  Essentials  in  the  Teaching  of  Music 

ledge  part  of  the  pupil's  musical  equipment  by 
associating  every  reference  to  Form  with  his 
musical  experience  of  the  particular  feature 
under  consideration. 


II.     Musical  Content 

The  development  of  a  knowledge  of  Form 
in  musical  interpretation  should  offer  but  little 
difficulty  to  the  teacher,  as  it  consists  of  tan- 
gible thought-conceptions  based  on  concrete 
tone-phenomena.  The  other  side,  the  musical 
contents,  is  far  more  elusive,  because  it  is  not 
a  matter  of  knowledge,  except  to  a  limited 
degree,  but  of  feeling.  Therein  lies  the  danger, 
for  the  teacher  will  always  be  tempted  to  urge 
the  pupil  to  feel  as  he  feels,  thereby  robbing 
the  latter's  musical  expression  of  its  best 
quality,  namely,  that  of  selj,  of  Individuality. 
And  yet  he  must  be  guided  to  a  certain  extent, 
chiefly  because  our  children  grow  up  under  a 
too  complex  system  of  civilization.  They  do 
not  really  feel,  think  and  act  simply  and  di- 
rectly, because  they  imitate  and  aff"ect  the 
feelings,  thoughts  and  actions  of  others.  They 
hear  the  "lady"  in  the  next  flat  sing  a  senti- 
mental song  with  exaggerated  sentimentality, 
and  will  imitate  this  performance,  ignorant  of 
[  78  ] 


Interpretation 


the  artificiality  of  its  emotional  contents  and 
expression. 

It  must  be  the  teacher's  duty  to  strip  the 
pupil's  mind  and  soul  of  artificiality,  insin- 
cerity and  affectation.  While  he  may  not  be 
able  to  secure  this  result  in  all  his  relations  to 
life,  he  should  at  least  bring  him  to  a  realiza- 
tion that  true  art  cannot  lie,  that  truth  and 
beauty  must  go  hand  in  hand  in  art-ex- 
pression, 

*         * 


The  contents  of  a  musical  composition  may    Contents 

.         purely 
be  either  purely  musical,  or  associated  with    musical 

some  more  or  less  definite  poetical  conception. 
In  the  former  case,  the  music  must  simply 
express  itself,  and  it  will  speak  to  each  listener 
to  the  extent,  degree  and  depth  of  psychical 
responsiveness  of  which  he  is  capable.  This 
does  not  mean  that  black  will  appear  white 
or  green  or  yellow  to  different  people,  or  that 
a  minor  cadence  will  arouse  joy  in  one  and 
sadness  in  another,  but  that  music,  the  lan- 
guage of  the  soul,  can  be  understood  only  to 
the  extent  that  the  soul  has  had  life-experiences. 
The  music  which  expresses  the  sufferings  of 
a  Tristan  or  an  Amfortas  cannot  be  grasped 
by  a  child  whose  severest  suffering  has  been 
the  breaking  of  the  doll's  nose. 
[79] 


Some  Essentials  in  the  Teaching  of  Music 


Contents 
based  on 
poetic  con- 
ceptions 


liAain  ele- 
ments of 
interpreta- 
tion 


The  teach- 
er's task 


When  music  is  associated  with  a  poetic  con- 
ception it  assumes  a  more  definite  and  there- 
fore also  a  more  limited  meaning.  The  various 
forms  of  so-called  programme  music  belong  in 
this  category.  For  its  proper  interpretation 
it  is  of  course  essential  that  the  poetic  basis 
should  be  intellectually  grasped  and  psychic- 
ally felt.  Just  as  the  composer  of  such  a  work 
had  to  imbue  himself  with  the  poetic  material 
in  order  to  give  it  musical  expression,  so  the 
interpreter  and  also  the  listener  must  make 
this  poetic  material  his  own  in  order  to  respond 
to  its  emotional  appeal  to  the  fullest  extent. 


*         * 


The  main  elements  in  the  interpretation  of 
a  musical  work  of  art,  therefore,  are:  Sincerity 
of  feeling,  and  sensitiveness  to  artistic  emo- 
tional impulses.  These  qualities  represent  the 
psychical  element.  The  next  is  an  intelligent 
understanding  of  the  musical  form  and  of  such 
poetic  or  dramatic  contents  as  may  be  asso- 
ciated with  the  music.  Finally,  the  ability  to 
execute  the  composition  with  technical  accu- 
racy in  accordance  with  the  composer's  pur- 
pose and  the  artist's  conception. 


*         * 
* 


This  is  "a  large  contract,"  and  the  teacher 
will  meet  with  many  difficulties  in  trying  to 
[  80  ] 


Interpretation 


develop  these  qualities  in  even  a  talented 
pupil.  But  if  he  recognizes  that,  unless  he  can 
do  so  to  a  reasonable  approximation  of  the 
ideal,  the  pupil's  work  will  be  mechanical,  imi- 
tative, insincere  and  unintelligent,  he  will 
either  find  ways  and  means  to  accomplish  the 
desired  end,  or  he  will  discover  that  the  pupil 
lacks  the  ability  to  develop  artistic  expression 
(in  which  case  it  were  better  to  devote  his 
time  to  other  useful  and  interesting  studies),  or 
that  he,  the  teacher,  has  not  the  gift  and  power 
to  bring  out  these  qualities  in  his  pupils,  prov- 
ing thereby  that  he  has  mistaken  his  vocation. 
For,  be  it  well  understood,  our  point  of  view 
in  considering  principles  of  pedagogy  as  ap- 
plied to  music  refers  to  music  as  an  art,  not  as 
the  making  of  musical  sounds  for  the  purpose 
of  tickling  the  ear  or  of  wallowing  in  senti- 
mental mush  and  mire.  The  teacher  who  is 
satisfied  with  the  latter  object  can  get  along 
with  some  "method"  labelled  with  some  well- 
known  teacher's  name,  and  by  putting  his 
pupils  through  the  same  methodical  process, 
will  no  doubt  succeed  in  making  them  into 
more  or  less    successful  reproductions  of  that 

teacher's  manners  and  mannerisms. 
*         * 


The  teacher  who  follows  a  higher  ideal,  on    "^.^^  °V^" 
1  1  ££         1      1  )5     TT     1  sion  of  the 

the  contrary,  needs  no     method.       He  knows    artist 


[81  ] 


Some  Essentials  in  the   Teaching  of  Music 

the  psychological  and  pedagogical  principles 
upon  which  true  education  from  within  is 
based;  he  knows  his  pupil  and  knows  the 
artistic  goal  toward  which  he  must  guide 
him;  and  he  will  devise  methods  to  fit  each 
pupil  individually.  He  believes  that  the  mis- 
sion of  the  artist  is  to  express  noble  thoughts  by 
noble  means  to  noble  minds;  and,  that  being  his 
creed,  he  cannot  debase  his  art  to  serve  less 
worthy  purposes. 

Great  art  must  spring  from  noble  impulses 
and  must  be  given  expression  in  a  noble  form, 
that  is,  with  sincerity,  beauty  and  spirituality. 
It  must  employ  as  a  means  of  expression  a 
medium  capable  of  conveying  thought  and 
feeling  in  terms  of  aesthetic  utterance.  It 
must  make  appeal  to  that  which  is  best  and 
noblest  in  man. 

From  this  point  of  view  it  follows  that  art 
must  spring  from  strong,  fine  character,  spiri- 
tuality and  highly  developed  poetic  and  aes- 
thetic qualities.  If  objection  to  this  statement 
is  raised  on  the  score  that  some  great  artists' 
lives  showed  lamentable  weaknesses,  we  would 
answer  that  their  best  work  sprang  not  from 
the  weak  but  from  the  strong  elements  of  their 
character,  and  of  these  their  art-work  gives 
ample  evidence.  True  art,  conversely,  appeals 
also  to  what  is  best  in  those  who  come  under 
its  influence.  It  is  a  mistake,  therefore,  to 
[  82] 


Interpretation 


assume  that  the  artist  should  descend  to  the 
supposed  level  of  his  audience.  By  giving  his 
best  of  the  best  and  noblest,  that  which  is 
best  and  noblest  in  all  whom  he  addresses 
(and  there  is  something  good  in  every  human 
being)  will  respond,  and  he  will  thereby  lift  his 
audience  nearer  to  his  level  instead  of  descend- 
ing to  theirs. 


I  83  ] 


CHAPTER  IV 
How  TO  Study 

We  have  discussed  hitherto  the  teacher's 
aims  and  means  in  instructing  the  student  of 
music;  but  however  excellent  this  instruction 
may  be,  it  will  avail  little  unless  the  pupil 
complements  the  teacher's  efforts  by  knowing 
hozv  to  study.  For  the  art  of  musical  expres- 
sion is  not  a  passive  but  an  active  one.  It  is 
not  enough  to  know,  but  it  must  do  the  thing 
to  be  expressed,  and  that  requires  much  ex- 
perience in  doing  —  in  short,  practice. 

Practice!  Is  there  another  word  so  hated, 
so  full  of  dismal  associations?  Is  there  an- 
other human  occupation  at  which  so  much 
valuable  time  has  been  wasted,  by  which  so 
much  harm  has  been  done  in  wrong  effort, 
and  by  which  so  many  blooms  of  promise  of 
higher  qualities  have  been  nipped  in  the  bud.'' 
And  all  because  this  practice  has  been  mechan- 
ical, enforced,  unintelligent  and  devoid  of 
musical  interest,  impulse  or  purpose.  The 
teacher's  duty,  therefore,  is  not  only  to  teach 
what  to  study,  but  how  to  study;  and  his 
success  in  this  feature  of  his  work  will  measure 
that  in  all  else. 

The  study  of  music  involves  every  process 
which  enters  into  its  apprehension  and  expres- 
[84] 


How  to  Study 

sion.  If  these  processes  are  brought  into  sys- 
tematic order  and  relation  to  each  other,  so 
that  the  student  is  conscious  of  their  indi- 
vidual functions,  he  will  acquire  habits  of 
thought  and  action  which  will  enable  him  to 
reach  his  musical  goal  by  the  most  direct 
road  and  with  the  greatest  economy  of  effort. 

As  we  have  seen  before,  the  first  step  is  the 
awakening  or  creating  of  interest  by  appeal- 
ing to  the  pupil's  emotions  and  his  aesthetic 
sense.  This  stimulates  his  desire  to  learn, 
and  this,  in  turn,  brings  forth  effort.  It  is 
this  effort,  then,  which  the  teacher  must 
guide,  for  it  is  the  pupil's  own  active  endeavor 
to  accomplish  something  to  him  desirable, 
which,  if  undirected  or  wrongly  directed,  will 
discourage  him  from  further  effort  and  may 
kill  his  interest  in  the  object,  but  which,  if 
rightly  guided,  will  engender  further  effort. 

It  is  therefore  essential  that,  first  of  all,  the 
pupil  shall  want  to  express  something  in  music 
and  that,  according  to  his  mental  maturity, 
he  shall  be  conscious  of  what  he  desires  to 
express  both  as  to  its  form  and  contents. 
Then  comes  the  gradual  development  of  the 
skill  of  expression  which,  as  we  have  shown 
in  a  previous  chapter,  must  be  acquired  in 
direct  application  to  the  musical  object,  not 
as  a  separate  accomplishment.  But  it  may  be 
urged  that  such  a  procedure  may  do  well 
[  85  ] 


Some  Essentials  in  the  Teaching  of  Music 

enough  for  the  beginning  when  the  technical 
demands  are  simple,  whereas  with  the  greater 
demands  for  skilful  execution  more  serious 
work  must  be  done. 

All  work  must  be  serious,  that  is,  purposeful. 
It  must  be  so  in  the  beginning  and  at  all  stages 
of  study.  To  arouse  interest  in  work  by  means 
of  holding  up  something  beautiful  as  an  object 
of  work,  is  not  play,  but,  on  the  contrary,  leads 
to  purposeful  work.  But  it  will  do  this  only  if 
another  factor  is  added  to  interest,  namely, 
discipline. 

*         * 


Discipline  What  is  discipline.?  Is  it  the  arbitrary  en- 
forcement of  rules  of  conduct  and  action.?  If 
so  applied  in  teaching,  it  may  produce  ex- 
ternal, superficial  results,  but  it  will  not  de- 
velop the  pupil's  powers  from  within  —  the 
only  way  by  which  he  can  learn  to  express 
himself.  No,  discipline  in  music-study  must 
be  the  development  of  the  critical  faculty  in 
the  student  to  such  a  degree  that  he  will  not 
accept  from  himself  anything  that  does  not 
conform  to  the  highest  standards  of  musical 
expression  of  which  he  is  capable  according  to 
his  age  and  natural  talent. 

This  kind  of  discipline  is  the  only  depend- 
able kind,   for  it  ensures   intelligent  practice 
[  86] 


How  to  Study 


during  the  teacher's  absence.  It  must  be  the 
teacher's  task,  gradually  to  develop  higher 
standards  of  critical  judgment  by  comparison 
of  the  good  with  the  bad,  the  better  with  the 
good,  and  the  best  with  the  better.  This  in 
itself  will  tend  to  stimulate  the  pupil  to  new, 
intelligent  and  constant  effort  and  will  make 
for  self-discipline,  for  he  will  set  for  himself 
his  rules  of  conduct  and  action  —  not  for 
their  own  sake,  but  for  the  purpose  of  accom- 
plishing the  object  of  his  desire. 

By  this  means  of  self-established,  self-en- 
forced discipline  he  will  master  each  difficulty 
as  it  presents  itself  as  an  obstacle  to  satis- 
factory expression.  He  will  not  create  diffi- 
culties which  do  not  yet  exist,  but  will  meet 
them  and  overcome  them  when  they  appear. 
The  old  method  of  practicing  all  kinds  of  exer- 
cises for  their  own  sake,  that  is,  for  the  pur- 
pose of  finger-strengthening,  etc.,  has  often 
done  more  harm  than  good;  for,  while  they 
may  have  developed  strength,  they  have 
destroyed  other  valuable  individual  character- 
istics of  touch  and  tone.  And  this  simply 
because  they  were  practiced  apart  from  an 
immediate  musical  necessity,  whereas,  when 
practiced  in  relation  to  a  musical  purpose, 
not  only  strength,  but  all  the  other  subtler 
qualities  demanded  by  this  purpose  will  be 
acquired. 

[  87  ] 


Some  Essentials  in  the  Teaching  of  Music 

It  will  be  seen  from  this  that  all  arbitrari- 
ness on  the  part  of  the  teacher  in  imposing 
irrelevant  practice  material  is  unwise,  not  only 
because  it  fails  in  producing  the  best  musical 
results,  but  also  because  it  retards  the  pupil's 
development  in  self-criticism,  self-activity  and 
resourcefulness  —  in   short,   in   self-discipline. 

The  teacher  should  therefore  not  be  an 
autocrat  but  the  pupil's  guide,  philosopher 
and  friend.  Not  above  him,  but  beside  him; 
not  the  domineering,  scolding  despot,  but  the 
sympathetic,  encouraging  counsellor. 

*  * 

"^.f."^'  Here  some  one  may  ask:  "What  about  the 

willinfif 

lazy  pupil  unwilling,  lazy  pupil?  or  the  careless,  thought- 
less one  who  lacks  steadiness  of  purpose  and 
mental  concentration?"  The  answer  is,  If  he 
is  unwilling,  it  is  because  he  lacks  interest;  if 
lazy,  because  his  desire  to  learn  is  weak;  if 
careless,  because  he  is  not  self-critical;  if 
thoughtless,  because  he  has  been  given  no- 
thing to  think  about;  if  lacking  in  steadiness 
of  purpose,  because  that  purpose  is  not  suffi- 
ciently clear  and  attractive;  if  lacking  in  con- 
centration of  mind,  because  that  quality  has 
not  been  developed  from  the  beginning.  In 
other  words,  it  is  either  the  teacher's  fault,  or 
the  pupil  should  not  study  music.  To  try  to 
[  88  ] 


How  to  Study 

remedy  these  defects  by  force,  that  is,  by  In- 
sisting upon  so  and  so  many  hours  of  unwill- 
ing, mechanical  work,  is  simply  stupid.  Better 
results  would  be  secured  by  the  purchase  of  a 
mechanical  musical  instrument.  It  would, 
however  expensive,  cost  less  than  years  of  un- 
profitable instruction  in  music. 

*         * 

\  Reducing  the  problem  of  how  to  study    General 

— *^  .  .     °  .        ,  .  ,  •       1  r    formula  of 

music  to  Its  simplest  terms  it  resolves  itseli    study 

into  the  formula:  First  think,  then  do,  then 
think  again.  That  is,  first  conceive  clearly 
what  you  want  to  express,  then  express  it  as 
adequately  to  this  conception  as  possible,  and 
then  compare  the  original  conception  with  this 
expression.  If  this  has  been  entirely  adequate, 
pass  on  to  the  expression  of  the  next  thought; 
if  not,  try  to  find  the  reason  for  this  inade- 
quacy and  attack  the  obstacle  before  venturing 
a  repetition  of  the  musical  thought  in  an 
inadequate  form  of  expression.  For  if  the 
inadequate  form  is  repeated,  it  may  become 
confirmed.  If  the  obstacle  is  lack  of  skill  in 
performance  of  some  detail,  it  is  proper  to 
repeat  this  detail,  upon  which  must  be  con- 
centrated the  best  critical  thought,  until  it  is 
brought  to  the  perfection  of  which  the  per- 
former is  capable  and  into  proper  relation  to 


Some  Essentials  in  the  Teaching  of  Music 

its  musical  environment.  If,  on  the  other 
hand,  the  obstacle  lies  in  a  misconception  of 
tempo,  rhythmic  values,  dynamics  or  emo- 
tional qualities,  the  pupil  should  discover  his 
errors  by  the  light  of  the  teacher's  guidance 
and  should  himself  find  the  way  to  a  true 
conception. 

This  is  the  philosophy  of  study  in  a  nutshell 
and,  while  volumes  might  be  written  elaborat- 
ing the  details  as  applied  to  every  conceivable 
problem  which  might  present  itself,  the  prin- 
ciple underlying  the  solution  of  these  prob- 
lems will  always  be  the  same.  Conception, 
actiony  criticism;  this  is  the  formula  of  study. 
It  is  applied  first  to  the  exposition  as  a  whole, 
then  the  same  process  indicated  by  the  for- 
mula is  applied  to  each  part  as  represented  by 
the  musical  thoughts  of  which  it  is  composed; 
then  it  is  applied  to  each  subdivision  of  each 
thought,  until  every  detail  has  been  made 
adequate  to  express  its  proper  share  in  the 
expression  of  the  whole. 

*  DC 

System  j^    requires    no    "method,"    labelled  or  un- 

labelled,  to  apply  this  principle,  but  it  is  based 
on  system,  that  is,  on  an  orderly  sequence  of 
thought  and  action.  All  work  should  be  sys- 
tematic to  ensure  directness  of  purpose  and 
[90] 


How  to  Study 

economy  of  time  and  strength.  For  this  rea- 
son it  is  also  advisable  to  systematize  the 
working  hours  of  each  day.  Much  time  is 
frittered  away  unwittingly  in  ways  which  con- 
duce neither  to  pleasure  nor  profit.  The  stu- 
dent should  devise  a  programme  for  his  daily 
work,  play  and  rest.  These  should  alternate 
so  that,  according  to  the  physical  and  mental 
powers  of  the  student,  longer  or  shorter  periods 
of  concentration  are  succeeded  by  relaxation. 
Also  in  such  a  manner  that  longer  periods  of 
work  are  divided  into  shorter  ones  of  different 
kinds  of  occupation,  by  which  means  certain 
faculties  are  rested  while  others  are  in  action. 
Such  systematic,  programmatized  work  is 
not  only  conducive  to  the  regular  exercise  of 
the  mental  and  physical  faculties,  to  the 
steadying  of  the  nerves  and  to  the  general  feel- 
ing of  happiness,  but  it  is  also  of  great  cumu- 
lative power  —  the  small,  regular  progress  of 
each  day  producing  big  results  at  the  rate  of 
compound   interest  by  the  end  of  the  year. 


To  sum  up,  then,  the  elements  of  correct 
study  are  interest,  effort,  concentration,  discipline 
and  system.  The  teacher  who  develops  these 
need  not  worry  about  "teaching"  his  pupil 
this  or  that  "piece."  The  pupil  will  do  the 
work,  the  teacher  need  only  guide, 
r  91  1 


General 
elements 
of  correct 
study 


CHAPTER  V 

Correlation  of 
Practical  with  Theoretical  Work 

This  would  seem  to  be  an  unnecessary 
chapter,  in  view  of  the  emphasis  placed  in  the 
foregoing  upon  the  importance  of  developing 
the  intellectual  and  physical  processes  simul- 
taneously; but  the  contrary  method,  namely, 
physical  first,  then  intellectual,  is  so  generally 
practiced  that  a  brief,  special  reference  may 
not  be  out  of  place. 

We  have  seen  that  even  a  very  young  stu- 
dent will  have  no  difficulty  in  learning  the 
meaning  of  so-called  technical  names,  pro- 
vided these  are  associated  with  concrete  mu- 
sical conceptions  or  phenomena  thoroughly 
familiar  to  him.  That  being  the  case,  when 
once  such  conceptions  have  been  named,  the 
teacher  should  always  employ  these  names  in 
order  that  the  student  may  automatically  call 
to  mind  the  musical  phenomena  for  which 
they  stand.  Thus,  the  names  of  the  tones 
contained  in  each  scale,  the  names  of  the  in- 
tervals, triads,  chords  of  the  seventh,  etc. 

When  the  student  begins  the  study  of  Har- 
mony, he  should  be  made  to  recognize  each 
chord  and  progression  in  the  music  he  is 
[  92  1 


Correlation  of  Practical  with  Theoretical  Work 

studying.  He  should  learn  to  recognize  and 
name  each  cadential  progression  and  its  rela- 
tion to  the  phrase  or  period  in  which  it  occurs. 
If  this  is  done  from  the  beginning  it  will  not 
be  irksome,  but  intensely  interesting;  and  not 
only  will  his  work  in  interpretation  be  more 
intelligent,  but  he  will  look  upon  the  study  of 
Harmony  not  as  dry  and  "mathematical,"  but 
as  delightful  and  illuminating. 

To  the  objection  that  there  is  no  time  in  a 
lesson  to  attend  to  all  these  things  we  would 
reply  that  the  only  thing  that  concerns  the 
teacher  is  to  give  the  pupil  a  thorough  grasp 
or  understanding  of  what  he  is  to  do;  the  rest 
must  be  done  by  the  pupil.  The  lesson  is 
for  illumination,  not  for  practice.  If  pro- 
gress seems  slow,  it  is  so  only  apparently,  for 
such  work  develops  power  of  self-help  in  the 
pupil,  and  that  will  ensure  true,  steady  and 
normal  progress. 


93  ] 


CHAPTER  VI 
Pedagogic  Material 

Pedagogic  material  should  be  selected  with 
a  view  to  its  suitability  to  the  pupil's  age, 
mental  and  physical  maturity;  its  ability  to 
arouse  and  maintain  his  interest;  its  adapta- 
bility to  the  formation  of  taste;  and,  finally, 
to  meet  the  requirements  of  his  technical 
development. 

Great  skill,  experience,  and  a  wide  know- 
ledge of  musical  material  are  required  in  the 
selection  of  material  for  study.  The  things 
the  teacher  studied  as  a  student  may  or  may 
not  be  advisable  material  —  at  any  rate,  not 
for  all  his  pupils.  Moreover,  it  will  not  suffice 
to  go  to  the  music-dealer  and  select  at  random 
things  which  have  certain  musical  qualities 
and  are  of  a  certain  degree  of  difficulty  or 
"grade."  The  teacher  must  study  each  indi- 
vidual pupil's  needs,  and  when  he  knows 
exactly  what  Is  needed  he  must  search  his 
mind  or  the  music-store  until  he  finds  it. 

The  singing-teacher  may  require  a  certain 
type  of  solfeggi  to  develop  proper  phrasing, 
breathing,  intonation,  etc.  Simultaneously 
with  these  he  devises  certain  exercises  which 
have  a  bearing  on  these  points  and  the  mu- 
sical purpose  of  which  the  pupil  is  led  to  recog- 
[94] 


Pedagogic  Material 


nize.  The  violin-teacher  selects  certain  types 
of  studies  which,  while  in  themselves  musical, 
contain  an  immense  amount  of  technical  ma- 
terial for  practice.  Here  his  insight  and  influ- 
ence will  be  constantly  needed  to  ensure  that 
the  pupil  will  not  ignore  the  musical  purpose 
in  his  pursuit  of  technical  skill. 

The  material  at  the  piano-teacher's  disposal 
is  so  enormous  as  to  be  embarrassing.  It  is 
therefore  all  the  more  important  that  he 
should  have  in  his  mind  very  clearly  the  exact 
requirements  of  his  pupil.  There  are  myriads 
of  exercises  and  studies,  most  of  them  ex- 
cellently written;  but  too  often  they  are 
rattled  off  mechanically,  book  after  book, 
without  resulting  in  any  real  musical  progress, 
that  is,  in  the  acquisition  of  power  to  express, 
to  interpret  music.  Yet  these  same  exercises, 
if  culled  judiciously  for  specific  purposes  at 
proper  times,  would  be  eminently  proper.  In 
other  words,  exercises  and  studies  are  excellent 
and  helpful  when  they  are  studied  for  specific 
musical  purposes  and  application  —  not  for 
the   development  of  purely  mechanical   skill. 

A   very   important   object   in   the   selection    Fomiation 
of  pedagogic  material  should  be  the  formation 
of  taste. 

[95  ] 


Some  Essentials  in  the   Teaching  of  Music 

No  matter  how  simple  the  song  or  piece 
selected,  it  should  bear  the  hallmark  of  true 
art,  i.  e.,  sincerity  and  beauty.  Nothing  should 
ever  be  given  to  the  pupil  "for  show."  A 
Liszt  Rhapsody  which,  under  the  hands  of  a 
master,  may  breathe  the  martial  spirit  of  the 
Hungarian  patriot,  becomes  a  vulgar  travesty 
when  rattled  off  by  the  immature  student,  as 
is  too  often  the  case. 

The  teacher's  field  of  choice  embraces  the  so- 
called  Classic,  Romantic  and  Modern  Schools 
of  music.  In  the  Classic  the  centre  of  grav- 
ity lies  in  Form.  It  is  usually  characterized 
by  simplicity  in  outline  and  thematic  mate- 
rial. 

The  Romantic  School  places  the  emphasis 
on  the  contents,  and,  while  retaining  the  Clas- 
sic form,  gives  it  greater  freedom.  It  fre- 
quently associates  its  musical  expression  with 
definite  poetic  ideas. 

The  Modern  Schools  show  infinite  variety 
in  Form  or  lack  of  Form.  The  best  of  them 
have  discovered  valuable  additions  to  musical 
means  of  expression,  but  the  majority  seem 
to  be  groping  in  the  dark.  For  this  reason 
great  care  should  be  taken  by  teachers  to  be 
discriminating  in  this  class  of  selections. 

The  two  first-named  classes  will  supply  the 
most  suitable  material  and  a  judicious  alterna- 
tion of  Classic  with  Romantic  will  best  serve 
[  96] 


Formation  of  Taste 


the  purpose  of  musical,  technical  and  aesthetic 
advancement. 

Teaching  material  will  group  itself  chiefly 
under  the  following  heads: 

Studies   (Etudes,  Solfeggi). 

Songs  —  Song-forms. 

Dance-forms. 

Sonatinas. 

Inventions. 

Sonatas. 

Fugues. 

Fantasias  and  other  free  forms. 

If  every  selection  given  to  the  pupil  for 
study  is  made  to  yield  all  it  contains  in  mu- 
sical, technical  and  aesthetic  features,  his  pro- 
gress will  be  sound  and  great.  In  addition, 
he  should  be  made  acquainted  with  such  bio- 
graphic and  historic  items  as  may  be  com- 
mensurate with  his  comprehension. 

*  * 

* 

A  most  valuable  means  of  developing  the    Ensemble 
15  -1  1-   •       •       1  r  practice 

student  s  musical  qualities  is  the  periormance 

of  concerted   music.     The  singer  should  use 

every  opportunity  to  sing  duets,   trios,  etc., 

alternating  in  taking  an  outer  or  middle  part. 

The  instrumentalist  should  cultivate  all  forms 

of  chamber  music.     Nothing  contributes  more 

[  97] 


Some  Essentials  in  the  Teaching  of  Music 

to  the  formation  of  good  taste  and  to  the 
development  of  the  true  feeling  of  rhythm, 
correct  dynamics,  proper  phrasing,  fluent 
sight-reading  and,  in  fact,  of  all  the  musical 
qualities.  The  only  danger  is  a  temptation  to 
develop  inaccuracy  through  cursory  reading, 
but  that  can,  of  course,  be  avoided  by  the 
serious  study  of  such  works. 


98  ] 


CONCLUSION 

All  of  the  foregoing  has  been  addressed  to 
the  young  teacher  who,  desirous  of  starting  on 
the  right  road,  needs  a  few  guide-posts  to  indi- 
cate the  direction  and  the  goal.  It  is  not 
addressed  to  the  experienced,  successful  teacher 
who  has  traveled  along  the  paths  indicated 
in  these  pages,  and  who,  therefore,  does  not 
need  to  be  shown  the  way,  or  to  him  who 
has  followed  other  paths  in  opposite  direc- 
tion, but  is  satisfied  with  his  achievements; 
in  which  case,  again,  he  would  not  be  willing 
to  change  either  his  direction  or  his  goal. 

It  has  not  been  the  author's  object  to  enter 
exhaustively  into  details;  partly,  because  to 
do  so  would  have  distracted  attention  from 
the  few  simple  but  all-important  principles 
which  form  the  foundation  of  correct  teach- 
ing; and  partly,  because  it  would  have 
deprived  the  young  teacher  of  the  joy  of 
discovery,  the  satisfaction  of  working  out  the 
problems  arising  in  the  application  of  these 
principles  in  practical  teaching  and  the  indi- 
viduality and  personal  quality  of  his  work. 

For  only  in  this  way  does  the  teacher  be- 
come a  creator.  His  work  is  not  done  by 
stencil  or  by  rote,  but  is  each  day  newly  de- 
signed —  according  to  each  pupil's  need.  This 
[99] 


So^me  Essentials  in  the   Teaching  of  Music 

entails  no  end  of  study  of  the  pupil,  of  his  prob- 
lems, of  his  abilities  and  possibilities,  of  his 
needs  in  the  way  of  musical  material  of  study, 
and  of  other  intellectual  and  aesthetic  influ- 
ences. To  do  these  things  properly  requires 
time,  and  therefore  no  young  teacher  should 
teach  more  than  three  or  four  pupils  a  day. 
He  needs  all  the  rest  of  the  time  for  prepara- 
tion. It  is  only  the  older,  experienced  teachers 
who  can  teach  nearly  all  day  and  still  do  justice 
to  their  work.  When  young  teachers  do  so,  it 
usually  means  that  their  work  is  mechanical, 
machine-like,  and  of  little  musical  or  artistic 
value. 

The  noblest  of  all  professions  is  that  of  the 
teacher,  but  especially  of  the  teacher  of  the 
art  of  music;  for,  if  he  does  his  work  well, 
he  develops  in  his  pupils  not  only  certain 
physical  and  intellectual  faculties  to  a  high 
degree  of  perfection,  but  he  furthers  the  awak- 
ening and  growth  of  their  spiritual  faculties. 
He  teaches  them  to  recognize  and  appreciate 
beauty  and  truth  and  to  express  them  through 
music  so  that  their  message  reaches  the  Jiearts 
of  all  who  can  hear. 

Knowing  that  this  high  mission  is  entrusted 
to  him,  it  should  not  be  possible  for  an  aspir- 
ing young  teacher  to  be  satisfied  with  the 
hum-drum  grind  and  drudgery  of  the  ordinary 
"music-teacher"  who  is  content  to  sell  his 
[  100] 


Conclusion 


time  at  so  much  an  hour  and  gives  in  return 
only  a  shoddy  imitation  of  a  real  music-lesson. 

His  work  must  be  alive,  joyous,  interesting 
and  inspiring.  It  may  not  produce  immediate 
pecuniary  affluence,  but  it  will  secure  peace  of 
mind  in  the  thought  of  the  day's  work  well 
done;  will  gain  the  confidence  and  love  of  the 
pupils;  and  will  ultimately  lead  to  a  position 
of  authority,  respect  and  economic  competence 
in  the  community. 

Finally,  I  would  suggest  that  he  adopt  and 
live  up  to  the  motto  emblazoned  on  the  Seal 
of  the  Institute  of  Musical  Art  of  the  City  of 
New  York: 

npo6'j[jL£co(A£6a  Toc  xaXoc 

"Let  us  devote  ourselves  (with  eager  striving 
and  enthusiasm)  to  noble  and  beautiful  works." 


101 


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